<?xml version="1.0"?>
<Events>
 <Event xml:lang="en" id="2008/051A" href="http://www.nyartbeat.com/event/2008/051A">
  <Name>Galleries for Oceanic Art</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F6CEBC1">
    <Name>The Metropolitan Museum of Art</Name>
    <Type>Museum</Type>
    <Address>1000 Fifth Ave., New York, NY 10028</Address>
    <Phone>212-570-3951</Phone>
    <Fax>212-472-2764</Fax>
    <Access>Corner of 82nd St.  Subway: 6 to 77th Street or 4/5/6 to 86th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>fridays closinghour 21:00, saturdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>Open on some holiday Mondays.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Other</Media>
  <Description><![CDATA[The islands of the Pacific Ocean encompass nearly 1,800 distinct cultures and hundreds of artistic traditions in an area that covers about one-third of the earth’s surface. The Museum’s new permanent galleries for Oceanic art, completely redesigned and reinstalled, display a substantially larger portion of the Museum’s Oceanic holdings than was previously on view. Featuring renowned masterworks from the Metropolitan’s Oceanic collection as well as recent acquisitions, the installation presents sculpture and decorative arts from the regions of Polynesia, Melanesia, Micronesia, and Australia. The displays also feature the Museum’s first gallery devoted to the arts of the indigenous peoples of Island Southeast Asia.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/051A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/051A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/051A-170" width="170" />
  <Karma>0.734549</Karma>
  <Price free="0">Suggested Donations: Adults $25, Seniors $17, Students $12, Members and Children Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.779</Latitude>
  <Longitude>-73.962342</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/09AA" href="http://www.nyartbeat.com/event/2008/09AA">
  <Name>&quot;Folk Art Revealed&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FC8AFCCD">
    <Name>American Folk Art Museum</Name>
    <Type>Museum</Type>
    <Address>45 W 53rd St., New York, NY 10019</Address>
    <Phone>212-977-7170</Phone>
    <Fax>212-977-8134</Fax>
    <Access>Between 5th and 6th Ave. Subway: E/V to 5th Avenue or B/D/F/V to 49th Street.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays closinghour 19:30</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Furniture</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[&quot;Folk Art Revealed,&quot; opened on November 16, 2004. The exhibition explores the nature of folk art through four themes applied to a diverse range of artwork from the museum's rich and extensive holdings, many of which have never before been on view.  These four perspectives: symbolism, utility, individuality, and community-- infuse all of folk art and speak to essential aspects of both traditional and unconventional expressions. Spanning the 18th century to the present, the works selected by curators Stacy C. Hollander and Brooke Davis Anderson, invite a deeper understanding of folk art and its role in people's lives.

[Image: Unknown &quot;New York&quot; (1848) Oil on wood panel 34 x 57 x 1 3/8 in. Courtesy of American Folk Art Museum, promised gift of Ralph Esmerian]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/09AA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/09AA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/09AA-170" width="170" />
  <Karma>0.54375</Karma>
  <Price free="0">Adults $9, Students and Seniors $7, Children under 12, Members, Friday after 5.30pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.760953</Latitude>
  <Longitude>-73.97725</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/13C8" href="http://www.nyartbeat.com/event/2008/13C8">
  <Name>&quot;The South Asia Galleries Gandhara, Mathura, Andhra and Gupta Sculpture&quot; Exhibtion</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F6CEBC1">
    <Name>The Metropolitan Museum of Art</Name>
    <Type>Museum</Type>
    <Address>1000 Fifth Ave., New York, NY 10028</Address>
    <Phone>212-570-3951</Phone>
    <Fax>212-472-2764</Fax>
    <Access>Corner of 82nd St.  Subway: 6 to 77th Street or 4/5/6 to 86th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>fridays closinghour 21:00, saturdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>Open on some holiday Mondays.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[These galleries explore the South Asian emergence of Buddhist and Hindu sculptural traditions between the 2nd century B.C. and the 8th century A.D. More than 160 works from the permanent collections are juxtaposed to trace the range of stylistic and iconographic developments in Afghanistan, Pakistan, and India during a period that witnessed great ideological ferment and international exchange. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/13C8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/13C8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/13C8-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested Donations: Adults $25, Seniors $17, Students $12, Members and Children Free</Price>
  <DateStart>2007-08-10</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.779</Latitude>
  <Longitude>-73.962342</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/1BAC" href="http://www.nyartbeat.com/event/2008/1BAC">
  <Name>Rodin &quot;The Cantor Gift to the Brooklyn Museum&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Due to installations in the Iris and B. Gerald Cantor Gallery, twelve bronze sculptures by Auguste Rodin have been installed in the Rubin Entrance Pavilion. This newly excerpted presentation of the Museum's large holdings by Rodin includes The Age of Bronze, a signature conception from the early years of the sculptor's career, as well as other works from his most significant commissions, including The Burghers of Calais, The Gates of Hell, and the Monument to Balzac. These casts came to the Brooklyn Museum through the generosity of Iris and B. Gerald Cantor.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/1BAC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/1BAC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/1BAC-170" width="170" />
  <Karma>0.671296</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/2409" href="http://www.nyartbeat.com/event/2008/2409">
  <Name>&quot;Early Gothic Hall&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0472F082">
    <Name>The Cloisters</Name>
    <Type>Museum</Type>
    <Address>99 Margaret Corbin Drive, New York, NY 10040</Address>
    <Phone>212-923-3700</Phone>
    <Fax></Fax>
    <Access>Subway: A train to 190th Street and exit the station by elevator. Walk north along Margaret Corbin Drive for approximately ten minutes or transfer to the M4 bus and ride north one stop. If you are coming from the Museum's Main Building, you may also take</Access>
    <Area areaId="harlem_bronx">Harlem, Bronx</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:15:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>November–February closing 4:45pm</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Architecture</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The Early Gothic Hall at The Cloisters reopened in the Spring of 2006 after a five-year renovation. Completely refurbished 13th-century limestone windows and two dozen panels of newly conserved and reinstalled stained glass, primarily from the 13th- and 14th-centuries, are among the objects on view. Four recently acquired and exceptional examples of German stained glass from the late-13th century glazing program for the convent church in Altenberg-an-der-Lahn are reunited in this new installation. The renovation of the Early Gothic Hall also features construction of two new limestone apertures in an interior wall (for the display of grisaille glass windows) and new lighting. The display in this room constitutes the largest and most varied group of 13th- and 14th-century panels outside Europe. Also returned to view are more than a dozen important Gothic sculptures and paintings from the Museum’s permanent collection, including the lifesize Virgin from the choir screen of Strasbourg Cathedral (mid-13th century) and a recently acquired late 13th-century head also from the region of Strasbourg on the Upper Rhine. As a result of a new protective glazing program installed along the exterior wall, rare examples of Gothic stained glass are now illuminated by natural daylight, as they were originally meant to be seen.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/2409-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/2409-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/2409-170" width="170" />
  <Karma>1.33028</Karma>
  <Price free="0">Suggested Donations: Adults $20, Seniors $15, Students $10, Members and Childeren under 12 Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.864675</Latitude>
  <Longitude>-73.930981</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/3359" href="http://www.nyartbeat.com/event/2008/3359">
  <Name>&quot;American Identities: A New Look&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Furniture</Media>
  <Media>3D: Crafts</Media>
  <Media>3D: Ceramics</Media>
  <Media>3D: Other</Media>
  <Description><![CDATA[This major installation of more than three hundred fifty objects from the Brooklyn Museum's premier collection of American art integrates a vast array of fine and decorative arts (silver, furniture, ceramics, and textiles) ranging in date from the colonial period to the present. For the first time, major objects from these exceptional collections are joined by selections from the Museum's important holdings of Native American and Spanish colonial art. The galleries are organized according to a set of eight innovative themes, through which visitors can explore historical moments and crucial ideas in American visual culture over the course of nearly three hundred years.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/3359-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/3359-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/3359-170" width="170" />
  <Karma>0.717822</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/4A49" href="http://www.nyartbeat.com/event/2008/4A49">
  <Name>&quot;Arts of Asia and the Islamic World&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Product</Media>
  <Media>3D: Crafts</Media>
  <Media>3D: Ceramics</Media>
  <Media>3D: Other</Media>
  <Description><![CDATA[The Asian and Islamic Art galleries provide a survey of the full range of Asian and Islamic art in the Brooklyn Museum, which houses one of America's foremost collections. It presents more than one hundred masterpieces from these extraordinary holdings, representing China, Korea, Japan, India, Southeast Asia and the Himalayas, and the Islamic world.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/4A49-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/4A49-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/4A49-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/5692" href="http://www.nyartbeat.com/event/2008/5692">
  <Name>&quot;Egypt Reborn: Art for Eternity&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[In April, 2003, the Brooklyn Museum completed the reinstallation of its world-famous Egyptian collection, a process that took ten years. Three new galleries joined the four existing ones that had been completed in 1993 to tell the story of Egyptian art from its earliest known origins (circa 3500 B.C.) until the period when the Romans incorporated Egypt into their empire (30 B.C.–A.D. 395). Additional exhibits illustrate important themes about Egyptian culture, including women's roles, permanence and change in Egyptian art, temples and tombs, technology and materials, art and communication, and Egypt and its relationship to the rest of Africa. More than 1,200 objects— comprising sculpture, relief, paintings, pottery, and papyri—are now on view, including such treasures as an exquisite chlorite head of a Middle Kingdom princess, an early stone deity from 2650 B.C., a relief from the tomb of a man named Akhty-hotep, and a highly abstract female terracotta statuette created over five thousand years ago.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/5692-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/5692-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/5692-170" width="170" />
  <Karma>0.903427</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/5705" href="http://www.nyartbeat.com/event/2008/5705">
  <Name>&quot;The Campin Room&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0472F082">
    <Name>The Cloisters</Name>
    <Type>Museum</Type>
    <Address>99 Margaret Corbin Drive, New York, NY 10040</Address>
    <Phone>212-923-3700</Phone>
    <Fax></Fax>
    <Access>Subway: A train to 190th Street and exit the station by elevator. Walk north along Margaret Corbin Drive for approximately ten minutes or transfer to the M4 bus and ride north one stop. If you are coming from the Museum's Main Building, you may also take</Access>
    <Area areaId="harlem_bronx">Harlem, Bronx</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:15:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>November–February closing 4:45pm</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Architecture</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The Campin Room at The Cloisters, the branch of the Metropolitan Museum devoted to the art and architecture of medieval Europe, recently reopened to the public following an extensive renovation. The gallery houses Robert Campin’s Annunciation Triptych (known as the Merode Triptych), which has been one of the masterworks at The Cloisters for nearly half a century. The new installation highlights the phenomenon of late medieval private devotion. Two new wall cases allow the exhibition of devotional objects formerly seen in the Treasury, and two important 15th-century stained-glass panels—one representing Christ as the Man of Sorrows, the other the Virgin as the Mater Dolorosa—have been installed in the central windows. Acquired in 1998, these panels are on view at The Cloisters for the first time and contribute greatly to the private devotional theme. New, more discreet lighting has been installed and the gallery walls have been re-plastered to match the original color. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/5705-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/5705-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/5705-170" width="170" />
  <Karma>0.191496</Karma>
  <Price free="0">Suggested Donations: Adults $20, Seniors $15, Students $10, Members and Childeren under 12 Free</Price>
  <DateStart>2007-06-29</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.864675</Latitude>
  <Longitude>-73.930981</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/576E" href="http://www.nyartbeat.com/event/2008/576E">
  <Name>&quot;Steinberg Family Sculpture Garden&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Dedicated in 1966, the Steinberg Family Sculpture Garden at the Brooklyn Museum is a preeminent collection of terracotta, stone, and metal architectural elements salvaged from now-demolished structures throughout the metropolitan area and reinstalled outside the Museum's Norman M. Feinberg Entrance. Most of these remarkable objects date to the period between 1880 and 1910, recording a great era in the cultural, architectural, and industrial history of New York City.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/576E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/576E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/576E-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/57EA" href="http://www.nyartbeat.com/event/2008/57EA">
  <Name>&quot;Visible Storage ▪ Study Center&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Furniture</Media>
  <Media>3D: Product</Media>
  <Media>3D: Crafts</Media>
  <Media>3D: Other</Media>
  <Description><![CDATA[The last phase in the creation of the Luce Center for American Art concludes with the opening of the 5,000 square-foot Visible Storage ▪ Study Center. The dense display of objects in the Visible Storage ▪ Study Center offers you an inside look at how museums work and provides a glimpse of the breadth and scope of the Brooklyn Museum's extensive American collections. As huge as the Museum's building is, just a small fraction of the permanent collections can be displayed in its limited exhibition gallery space. Whereas only about 350 works are on view in the adjacent American Identities exhibition, this facility gives open access to some 2,000 of the many thousands of American objects held in storage, which are now available for viewing and research by students, scholars, and the general public.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/57EA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/57EA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/57EA-170" width="170" />
  <Karma>0.849941</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/5D0B" href="http://www.nyartbeat.com/event/2008/5D0B">
  <Name>&quot;The Arts of Africa&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[Over 250 works spanning more than 2,500 years represent art from the African continent in the Museum's first-floor galleries. Additional related art from ancient Egypt and Islamic North Africa can be found in the second- and third-floor galleries. The art on view in the first-floor galleries ranges from ancient Nubian pottery and sculpture, Berber jewelry, and West African masks to East African beadwork, Ethiopian processional crosses, and a contemporary ceramic vessel by the Kenya-born artist Magdalene Odondo. The main focus of the African collections is on sculpture from West and Central Africa.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/5D0B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/5D0B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/5D0B-170" width="170" />
  <Karma>1.33028</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/87CA" href="http://www.nyartbeat.com/event/2008/87CA">
  <Name>Walter De Maria &quot;The Broken Kilometer&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F4420175">
    <Name>The Broken Kilometer</Name>
    <Type>Other</Type>
    <Address>393 West Broadway, New York NY 10012</Address>
    <Phone>212-989-5566</Phone>
    <Fax></Fax>
    <Access>Between Spring St. and Broome St. Subway: C/E to Spring Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The Broken Kilometer, 1979, located at 393 West Broadway in New York City, is composed of 500 highly polished, round, solid brass rods, each measuring two meters in length and five centimeters (two inches) in diameter. The 500 rods are placed in five parallel rows of 100 rods each. The sculpture weighs 18 3/4 tons and would measure 3,280 feet if all the elements were laid end-to-end. Each rod is placed such that the spaces between the rods increase by 5mm with each consecutive space, from front to back; the first two rods of each row are placed 80mm apart, the last two rods are placed 580 mm apart. Metal halide stadium lights illuminate the work which is 45 feet wide and 125 feet long.

This work is the companion piece to De Maria's 1977 Vertical Earth Kilometer at Kassel, Germany. In that permanently installed earth sculpture, a brass rod of the same diameter, total weight and total length has been inserted 1,000 meters into the ground.

The Broken Kilometer has been on long-term view to the public since 1979. This work was commissioned and is maintained by Dia Art Foundation.

All images of The Broken Kilometer are copyright Dia Art Foundation and may not be reproduced in any form without written permission from Dia Art Foundation. photo credit: Jon Abbott
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/87CA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/87CA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/87CA-170" width="170" />
  <Karma>3.34718</Karma>
  <Price free="1">Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.724333</Latitude>
  <Longitude>-74.002211</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/8F9E" href="http://www.nyartbeat.com/event/2008/8F9E">
  <Name>Galleries for 19th- and Early 20th-Century European Paintings and Sculpture, including the Henry J. Heinz II Galleries</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F6CEBC1">
    <Name>The Metropolitan Museum of Art</Name>
    <Type>Museum</Type>
    <Address>1000 Fifth Ave., New York, NY 10028</Address>
    <Phone>212-570-3951</Phone>
    <Fax>212-472-2764</Fax>
    <Access>Corner of 82nd St.  Subway: 6 to 77th Street or 4/5/6 to 86th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>fridays closinghour 21:00, saturdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>Open on some holiday Mondays.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The New Galleries for 19th- and Early 20th-Century European Paintings and Sculpture are reopening with renovated rooms and 8,000 square feet of additional gallery space—the Henry J. Heinz II Galleries—to showcase works from 1800 through the early twentieth century. The renovated galleries feature all of the Museum's most loved nineteenth-century paintings, which have been on permanent display in the past, as well as works by Bonnard, Vuillard, Soutine, Matisse, Picasso, and other early modern artists. Among the many additions are a full-room assembly of &quot;The Wisteria Dining Room,&quot; a French art nouveau interior designed by Lucien Lévy Dhurmer shortly before World War I that is the only complete example of its kind in the United States; Henry Lerolle's enormous The Organ Rehearsal (a church interior of 1885); a group of newly accessioned nineteenth-century landscape oil sketches; and a selection of rarely exhibited paintings by an international group of artists.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/8F9E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/8F9E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/8F9E-170" width="170" />
  <Karma>0.098831</Karma>
  <Price free="0">Suggested Donations: Adults $25, Seniors $17, Students $12, Members and Children Free</Price>
  <DateStart>2007-12-04</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.779</Latitude>
  <Longitude>-73.962342</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/A758" href="http://www.nyartbeat.com/event/2008/A758">
  <Name>Gallery for the Art of Native North America</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F6CEBC1">
    <Name>The Metropolitan Museum of Art</Name>
    <Type>Museum</Type>
    <Address>1000 Fifth Ave., New York, NY 10028</Address>
    <Phone>212-570-3951</Phone>
    <Fax>212-472-2764</Fax>
    <Access>Corner of 82nd St.  Subway: 6 to 77th Street or 4/5/6 to 86th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>fridays closinghour 21:00, saturdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>Open on some holiday Mondays.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[The Museum’s renovated gallery devoted to Native North American art display approximately 90 works made by numerous American peoples. Ranging from the beautifully shaped stone tools known as bannerstones of several millennia B.C. to a mid-1970s tobacco bag, the objects illustrate a wide variety of cultural background, artistic style, and functional purpose, all qualities inherent in the art of the peoples of the large North American continent. Works include wood sculpture from the Northwest Coast of North America, ivory carvings from the Arctic, wearing blankets from the Southwest, and objects of hide from the Great Plains. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/A758-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/A758-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/A758-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested Donations: Adults $25, Seniors $17, Students $12, Members and Children Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.779</Latitude>
  <Longitude>-73.962342</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/C486" href="http://www.nyartbeat.com/event/2008/C486">
  <Name>&quot;Assyrian Reliefs&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[These twelve massive carved alabaster panels, on view together for the first time, dominate the walls of the Brooklyn Museum's Hagop Kevorkian Gallery of Ancient Middle Eastern Art. Originally brightly painted, they once adorned the vast palace of King Ashur-nasir-pal II (883–859 B.C.), one of the greatest rulers of ancient Assyria. Completed in 879 B.C. at the site of Kalhu (modern Nimrud, slightly north of what is now Baghdad, Iraq), the palace was decorated by skilled relief-carvers with these majestic images of kings, divinities, magical beings, and sacred trees.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2008/C486-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2008/C486-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2008/C486-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2008/F889" href="http://www.nyartbeat.com/event/2008/F889">
  <Name>&quot;Gallery Selections&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D2F542C2">
    <Name>Bernard Goldberg Fine Arts, LLC</Name>
    <Type>Gallery</Type>
    <Address>667 Madison Ave., 24 Fl., New York, NY 10065</Address>
    <Phone>212-813-9797</Phone>
    <Fax>212-813-9876</Fax>
    <Access>Corner of 61st St. Subway: N/R/W to 5th Ave., 4/5/6 to 59th St./Lexington Ave. or F to Lexington Ave./63rd St.</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>05:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 11:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Furniture</Media>
  <Description><![CDATA[Bernard Goldberg Fine Arts is pleased to present a selection of its finest and newest acquisitions. The current installation of works in the gallery highlights the modernist landscapes of John Marin and Charles Burchfield, as well as the Ashcan paintings and drawings of William Glackens and Henry Glintenkamp. Exceptional works by such American Masters as George Bellows and Marsden Hartley are also on view, and are just a sampling of the extensive inventory the gallery has to offer. Please click the image to see further information. ]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_80" width="80" />
  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.764583</Latitude>
  <Longitude>-73.970778</Longitude>
 </Event>

 <Event xml:lang="en" id="2009/1792" href="http://www.nyartbeat.com/event/2009/1792">
  <Name>&quot;That Place: Selections from the Collection&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Our home, our street, our city, our country—these are familiar locations, places that define our lives. Yet places can be more than physical. Some of the works on view in these galleries evoke a literal place, either domestic or communal. Others, however, approach the concept of place metaphorically, with evocations of a social and cultural place or references to art history that offer a point of departure, where traditions can be reworked or reconsidered. The past—both personal and collective—occupies a significant place in our memories from which we see the present and imagine the future. Not limited to dwelling, the idea of place transcends geographical and temporal boundaries to include race, ethnicity, and gender in the creation of places where past and future, illusion and reality, meet.
[Image: Nina Chanel Abney (American, b. 1982) &quot;Forbidden Fruit&quot; (2009) Acrylic on canvas, 67 x 77 1/2 in. ]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2009/1792-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2009/1792-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2009/1792-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2009/DAAA" href="http://www.nyartbeat.com/event/2009/DAAA">
  <Name>&quot;Rachel Beach and Nicole Stager&quot; Exhibiton</Name>
  <Venue href="http://www.nyartbeat.com/venue/23274AC1">
    <Name>92YTribeca Art</Name>
    <Type>Cultural Center</Type>
    <Address>200 Hudson St., New York, NY 10013 </Address>
    <Phone>212-601-1000</Phone>
    <Fax></Fax>
    <Access>Corner of Canal St.  Subway: 1, A/C/E to Canal Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>00:00:01</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Daytime hours subject to change.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[92YTribeca presents the works of Rachel Beach and Nicole Stager – both formerly shown at Like the Spice gallery in Brooklyn – in an opening reception for this semi-permanent exhibit.

Brooklyn-dwelling, Ontario-born Rachel Beach creates works that have been described as “tough, precise and disciplined with a hard edged cheeriness.” Her wall-mounted sculptures – wooden portals and towers – rest on the border “between sculpture and painting, illusion and reality, masculine and feminine, representation, abstraction and decoration.” The portals literally take on the idea of a window, framing a section of wall or empty space in the gallery; the towers are architectural but can also seem at times like freestanding ornament. Each of these sculpture/paintings is designed to alter our visual perception of three-dimensional form.

Nicole Stager creates her work in the darkroom, drawing with handheld light sources in a process that combines the specificity of photography with the aesthetic of abstract painting. Time, color, shape and line are all uniquely presented in Stager’s work; the final product has far more to do with the interaction of light, shadow and chemistry than with the objects that produced them. A native of Pennsylvania, Stager is currently completing her MFA in New Media from the Transart Instituta at Danube University in Krems, Austria.

 ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2009/DAAA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2009/DAAA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2009/DAAA-170" width="170" />
  <Karma>6.04167</Karma>
  <Price free="1">Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2009-03-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722981</Latitude>
  <Longitude>-74.007881</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/02EB" href="http://www.nyartbeat.com/event/2010/02EB">
  <Name>&quot;The Henry Luce III Center for the Study of American Culture &amp; Slavery in New York&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D3C8617E">
    <Name>The New-York Historical Society</Name>
    <Type>Museum</Type>
    <Address>170 Central Park West, New York, NY 10023</Address>
    <Phone>212-873-3400</Phone>
    <Fax></Fax>
    <Access>Between 76th and 77th Street. Subway: B or C to 81st Street.</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 11:00, sundays closinghour 17:45, fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>Open on selected holiday Mondays and Mondays during special exhibitions for school and adult groups.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Furniture</Media>
  <Description><![CDATA[In November 2000, with a generous grant from the Henry Luce Foundation, the Historical Society opened a state-of-the-art facility for its renowned fine and decorative arts collection. The Luce Center is located on the entire fourth floor in the Historical Society's landmark building on Central Park West. Innovative in its design, the Luce Center safely houses and makes accessible more than 40,000 objects - representing museum collections amassed over 200 years - previously in offsite storage. Paintings, sculpture, furniture, tools for home and trade, Tiffany lamps, textiles, metals, ceramics and glass are displayed in visible storage, offering a unique behind-the-scenes museum experience for the visitor.

Information about this arsenal of Americana is delivered in a variety of ways, ranging from thematic audio tours to interactive computer kiosks and mini-exhibition stations.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/02EB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/02EB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/02EB-170" width="170" />
  <Karma>6.04167</Karma>
  <Price free="0">Adults: $12, Seniors and Educators: $9, Members; Students: $7, Children under 12(accompanied by adults) and on Fridays from 6 pm to 8 pm: Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.779428</Latitude>
  <Longitude>-73.973739</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/17B8" href="http://www.nyartbeat.com/event/2010/17B8">
  <Name>&quot;A Portrait of the City&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D3C8617E">
    <Name>The New-York Historical Society</Name>
    <Type>Museum</Type>
    <Address>170 Central Park West, New York, NY 10023</Address>
    <Phone>212-873-3400</Phone>
    <Fax></Fax>
    <Access>Between 76th and 77th Street. Subway: B or C to 81st Street.</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 11:00, sundays closinghour 17:45, fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>Open on selected holiday Mondays and Mondays during special exhibitions for school and adult groups.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[A group of 22 paintings and 2 small sculptures will offer visitors a chronological journey through highlights of the N-YHS's rich collection of New York views, including historical images of the metropolis and richly allusive images of its inhabitants and their lives. The installation will include a selection of city views, beginning and ending with two monumental cityscapes, Guy's Tontine Coffee House of ca. 1797 and Jacquette's From World Trade Center, 1998. It will feature portraits of political and cultural figures such as DeWitt Clinton, who oversaw the development of the Erie Canal, and Peter Williams, the former slave who became a successful merchant and a founding trustee of the Zion Church for Negroes. It will also illuminate the everyday lives of New Yorkers through such works as Burr's The Intelligence Office, 1849 and Thain's Italian Block Party, 1922.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/17B8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/17B8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/17B8-170" width="170" />
  <Karma>1.35198</Karma>
  <Price free="0">Adults: $12, Seniors and Educators: $9, Members; Students: $7, Children under 12(accompanied by adults) and on Fridays from 6 pm to 8 pm: Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.779428</Latitude>
  <Longitude>-73.973739</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/8E96" href="http://www.nyartbeat.com/event/2010/8E96">
  <Name>The Charles Engelhard Court and the Period Rooms</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F6CEBC1">
    <Name>The Metropolitan Museum of Art</Name>
    <Type>Museum</Type>
    <Address>1000 Fifth Ave., New York, NY 10028</Address>
    <Phone>212-570-3951</Phone>
    <Fax>212-472-2764</Fax>
    <Access>Corner of 82nd St.  Subway: 6 to 77th Street or 4/5/6 to 86th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>fridays closinghour 21:00, saturdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>Open on some holiday Mondays.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The Metropolitan Museum of Art's American Wing—including The Charles Engelhard Court and the American period rooms—reopened on May 19, 2009. After more than two years of construction and renovation, the unparalleled collections of American furniture, sculpture, stained glass, architectural elements, ceramics, glass, silver, pewter, and jewelry returned to public view. Twelve of the Met's historic interiors were renovated, reinterpreted, and upgraded to include interactive computer touch screens offering information about the rooms and their furnishings. The opening of the galleries marked the completion of the second of three parts of a project to reconfigure, renovate, and upgrade every section of The American Wing by 2011.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/8E96-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/8E96-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/8E96-170" width="170" />
  <Karma>2.01389</Karma>
  <Price free="0">Suggested Donations: Adults $25, Seniors $17, Students $12, Members and Children Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.779</Latitude>
  <Longitude>-73.962342</Longitude>
 </Event>

 <Event xml:lang="en" id="2010/E542" href="http://www.nyartbeat.com/event/2010/E542">
  <Name>Singular Visions</Name>
  <Venue href="http://www.nyartbeat.com/venue/04C0543A">
    <Name>The Whitney Museum of American Art</Name>
    <Type>Museum</Type>
    <Address>945 Madison Ave., New York, NY 10021</Address>
    <Phone>212-570-3600</Phone>
    <Fax></Fax>
    <Access>Corner of 75th St. Subway: 6 to 77th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays openinghour 13:00, fridays closinghour 21:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[At a time when images barrage us everywhere from our televisions to our mobile phones, the latest reinstallation of the Whitney’s permanent collection galleries invites visitors to slow down and experience art in a dramatic new way. Singular Visions presents twelve postwar highlights from the museum’s holdings, each in its own space, in order to create intimate and compelling encounters with a single work of art. Each piece was chosen to convey a distinct impression and a specific sense of its maker’s vision, whether somber or celebratory, figurative or abstract, quiet or bold. Some of the works on view require their own spaces because they are large or comprise many parts, while others explore difficult topics or emotions that one might wish to consider in relative isolation. Through their variety of mediums, sizes, styles, and subjects, the works in Singular Visions encourage a range of powerful experiences and reveal how contemporary artists have stretched the very boundaries of what an artwork can be. 
[Image: George Segal, &quot;Walk, Don't Walk&quot; (1976) Plaster, cement, metal, painted wood, and electric light 109 x 72 x 74 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2010/E542-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2010/E542-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2010/E542-170" width="170" />
  <Karma>0.449951</Karma>
  <Price free="0">General admission: $18; Ages 19-25, 62+, and students: $12; Ages 18 &amp; under: FREE; Fridays 6-9pm are pay what you wish.</Price>
  <DateStart>2010-12-16</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.773411</Latitude>
  <Longitude>-73.964222</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/06CD" href="http://www.nyartbeat.com/event/2011/06CD">
  <Name>&quot;Dubuffet and the Art Brut&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D1A8B04A">
    <Name>Ricco/Maresca Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 3 Fl., New York, NY 10011</Address>
    <Phone>212-627-4819</Phone>
    <Fax>212-627-5117</Fax>
    <Access>Between 10th Ave and West Side Hwy. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Ricco/Maresca Gallery and Jennifer Pinto Safian present Dubuffet and the Art Brut. The exhibition presents the art of Jean Dubuffet (1901-1985) alongside works championed by Dubuffet and collected under the rubric of Art Brut. Between 1945 and his death in 1985, Dubuffet defined Art Brut, aggressively collecting, exhibiting and publishing the genre. His collection, now housed at the Collection de L'Art Brut, Lausanne, Switzerland, established the canon of recognized Art Brut artists. These artists, in turn, dramatically impacted Dubuffet’s personal artistic vision. The exhibition includes works by celebrated figures of the Art Brut circle - Alöise Corbaz, Janko Domsic, Madge Gill, Miguel Hernandez, Emile Josome Hodinos, Augustin Lesage, Scottie Wilson, Adolf Wölfli and Carlo Zinelli, along with works by abstract expressionist Alfonso Ossorio. Juxtaposed, we see Jean Dubuffet’s circle of influence.

In 1945, Dubuffet began to travel extensively throughout Europe to discover an art that “addresses itself to our spirit, not to our eyes,” an art that is pure, spontaneous, direct, and not influenced by fine art and mainstream culture. By 1948, Dubuffet and several leading Dadaists and Surrealists, including André Breton and Michel Tapié, had founded the Compagnie de l'Art Brut. Under Dubuffet's leadership, this organization defined and strictly enforced the criteria applied to the collecting of Art Brut. The most significant determinant was that the art was created by individuals who were not part of the conventional art scene. “Here, Art possesses a strength coming from desire, from magic…Isolated from society, they create their own feasts.”

Originally comprised of approximately 1200 works of art created by individuals secluded in mental hospitals or otherwise socially isolated, the Compagnie de l'Art Brut's collection was the first one of its kind to exist beyond the confines of a mental institution. With the 1949 exhibition of the collection at the Galerie René Drouin in Paris, Jean Dubuffet formally introduced Art Brut to an indifferent public. Due to philosophical differences among its founders, the Compagnie eventually dissolved in 1951. Forced to find a new home for the collection, Dubuffet shipped all the works to his friend and colleague, the abstract expressionist painter Alfonso Ossorio. Ossorio housed the collection at his Wainscott, New York estate for the next decade; in 1962, it was donated to the municipality of Lausanne, Switzerland and permanently installed in the Chateau de Beaulieu under the name Collection de L’Art Brut.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/06CD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/06CD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/06CD-170" width="170" />
  <Karma>1.78922</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/0E4A" href="http://www.nyartbeat.com/event/2011/0E4A">
  <Name>&quot;EAF11: 2011 Emerging Artist Fellowship Exhibition&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/53ADECAB">
    <Name>Socrates Sculpture Park</Name>
    <Type>Museum</Type>
    <Address>32-05 Vernon Blvd., Long Island City, NY 11106</Address>
    <Phone>718-956-1819</Phone>
    <Fax>718-626-1533</Fax>
    <Access>Subway: N or W to Broadway in Queens.  Walk eight blocks along Broadway toward the East River.</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Open all year from 10am to sunset.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Each year, fellowship artists are awarded a grant and a residency in the Park's outdoor studio and are also provided with technical support and access to tools, materials and equipment to facilitate the production of new sculptures for exhibition in the Park.  The artists develop their projects throughout the summer in the open studio and landscape.  The diverse sculptural works that emerge represent a broad range of materials, working methods and subject matter and are presented against the spectacular waterfront view of the Manhattan skyline. 

 ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/0E4A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/0E4A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/0E4A-170" width="170" />
  <Karma>0.669916</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-09-10</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-09-10" start="14:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767636</Latitude>
  <Longitude>-73.936253</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/2E16" href="http://www.nyartbeat.com/event/2011/2E16">
  <Name>Textile Study Group of New York &quot;Crossing Lines: Thae Many Faces of Fiber&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C7C98F22">
    <Name>World Financial Center( Courtyard Gallery and Winter Garden )</Name>
    <Type>Event Space</Type>
    <Address>220 Vesey St., New York, NY 10280</Address>
    <Phone>212-945-2600</Phone>
    <Fax></Fax>
    <Access>Between N End Ave. and West Side Hwy. Subway: 1/2/3 to Chamber Street or E to World Trade Center</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Winter Garden opens 7 am - 11 pm.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Fashion</Media>
  <Description><![CDATA[A quilted collage of street signs. Abstract art composed of sewing-machine stitches. Towering masks made of threads.
 
These are just a few of the wildly inventive, eye-catching artworks showcased in &quot;Crossing Lines: The Many Faces of Fiber,&quot; a free exhibit of contemporary fiber art at the World Financial Center Courtyard Gallery from December 6th through February 19th.
 
Presented by Arts World Financial Center, the exhibit will feature a dazzling array of woven sculptures, quilted collages, abstract embroidery, and more by members of the Textile Study Group of New York (TSGNY), a not-for-profit corporation dedicated to promoting a wider appreciation of fiber art.
 
The exhibit celebrates TSGNY's 35th anniversary with more than 50 artworks demonstrating the power and versatility of fiber art. The organization's member artists transform thread, yarn, and fabric into eye-popping creations that offer an imaginative approach to embroidery, dyeing, feltwork, knitting, crochet, knotting, lacemaking, quilting, spinning, weaving, and more.
 
&quot;Crossing Lines invites audiences to take something as familiar as fabric and appreciate it in a stunningly beautiful new light,&quot; said Debra Simon, artistic director of Arts World Financial Center. &quot;The Textile Study Group of New York has spent thirty-five years inspiring artists to explore the infinite creative potential of fiber and textiles, and we're thrilled to be presenting this sweeping exhibition of their members' exquisite and wildly imaginative work.&quot;
 
Curated by Rebecca A.T. Stevens, author and Consulting Curator of Contemporary Textiles at the Textile Museum in Washington, DC, the wildly diverse collection includes works both large and small, two- and three-dimensional, traditional and experimental.
 
“We at the Textile Study Group of New York are delighted to be working with Arts World Financial Center to present this landmark exhibition of our members’ works to celebrate our 35th anniversary,” said Nancy Koenigsberg, Founder and President Emeritus of the Textile Study Group of New York.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/2E16-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/2E16-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/2E16-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-06</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote>Tuesday–Sunday, 12–4pm at WFC Courtyard Gallery, closed December 24, 25, 31, 2011 &amp; January 1, 2012</ScheduleNote>
  <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.714083</Latitude>
  <Longitude>-74.014278</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/4539" href="http://www.nyartbeat.com/event/2011/4539">
  <Name>&quot;Shifting Communities&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/050FFC94">
    <Name>Bronx Art Space</Name>
    <Type>Event Space</Type>
    <Address>305 E 140th St., #1A, Bronx, NY 10454</Address>
    <Phone>718-772-4961 </Phone>
    <Fax></Fax>
    <Access>Between 3rd and Alexander Aves. Subway: 6 to 138th Street </Access>
    <Area areaId="harlem_bronx">Harlem, Bronx</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Shifting Communities highlights dynamic initiatives in culture and the arts currently at work in the margins of the art world and American society. The goal of this project is to create a paradigm where community-centric contemporary art and artist think-tanks can be a tool for public service; a language for the exploration and investigation of the broader aspects of culture and society; and a magnet that can bring different cultures and ideologies together in order to strengthen a more inclusive definition of community.


Exhibition Schedule:
Shifting: J+J, BroLab, and Nicky Enright
September 9th through October 8th 2011

Shifting: SP Weather Station, Laura Napier, and Christy Speakman
October 21st through November 18th 2011

Shifting: Action Club and Hatuey Ramos-Fermin
December 2nd 2011 through January 6th 2012

Shifiting: T.W.O., P.w.O., and W.P.C.
January 20th through February 18th 2012


Bronx artists: Laura Napier (Social Practice/Video), Nicky Enright (Video/Painting/DJ), Hatuey Ramos-Fermin (Installation/Performance), and Christy Speakman (Photography/Sculpture/Video)


Artist Collective Members: Jason Balicki and Jason Eisner (J+J Collective); Ryan Roa, Travis LeRoy Southworth, Robert Amesbury, Adam Brent, Ken Madore, Jonathan Brand, Rahul Alexander, and Edward Lee Bullock (BroLab); Douglas Paulson, Kerry Downey, Christopher Domenick, Christopher Robbins, Justin Rancourt, Chuck Yatsuk, and Jo Q Nelson (Action Club); Heidi Neilson and Natalie Campbell (SP Weather Station); Katarina Jerinic and Naomi Miller (The Work Office); Erica Leone, Heather M. O'Brien, and Felisia Tandiono (Works Progress Collective); Alexandra Woolsey-Puffer and Jeff Maki (Publicworks Office)

Shifting Communities operates multifold: as a roundtable brainstorming series for students, artists, and local residents; as a curatorial/exhibition initiative; and as Bronx-centric social sculpture.

Roundtable Brainstorming Series: An artist built installation in our exhibition facility will serve as the physical infrastructure for a series of roundtable discussions. Featuring the Bronx as a hub, the roundtable installation will host a yearlong series of discussions based on the changing socio-demographics, community development, and non-profit exhibition strategies (to name a few) across the boroughs of New York City. Each roundtable will feature a Bronx artist alongside an artist collective from outside the Bronx. In addition to the roundtable, the artists are charged with creating an exhibit of art inclusive of the discussion and informed by the Bronx community. The roundtable will also be made available to other artists and community members outside the program to schedule events and activities of their own.

Curatorial/Exhibition Initiative: This series was created in response to the current economic, environmental, and political stress across the country and the grassroots initiatives and local communities of artists that have spawned from it to create innovative and effective interpretations of development and progress. Through four separate exhibitions, this initiative changes the gallery from a space of passive art viewing into one of active art creating. The audience is as integral to the creation of the program as the artists. The artwork stems from discussion and consideration for the community it is created in.

Bronx-centric Social Sculpture: Taken as a whole, this program can be seen as one large artwork. The accumulation of sketches, notes, photographs, and other ephemera from the roundtable presentations, along with the artworks created and exhibited will be archived in a published catalog and video series of documentation and critical dialogue. As the series progresses, the roundtable installation will act as a visual timeline of the work and ideas presented culminating in an archive of the entire program at the close of our season.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/4539-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/4539-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/4539-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-09-09</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.811828</Latitude>
  <Longitude>-73.924936</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/4FCC" href="http://www.nyartbeat.com/event/2011/4FCC">
  <Name>African Innovations Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The Brooklyn Museum presents a long-term installation of 200 of the finest objects from its renowned collection of African art in the recently renovated gallery space on the first floor. African Innovations, a chronological and contextual reinstallation, will be on view while the galleries in which the African collection has been installed since 1935 undergo large-scale renovation.

African Innovations, in which works will be arranged historically for the first time, will be framed on either end by two displays. The first, containing masterpieces from the seventh century b.c.e. to 1800 c.e. by artists ranging from those of ancient Nok and Hellenistic North Africa to the Sapi of Sierra Leone and sculptors of the ancient kingdom of Benin, will establish a pattern of Africa’s ongoing interaction with other parts of the world. The other display, with a selection of contemporary works, will bring this story up to the present and represents the Museum’s first dedicated space for works from present-day Africa.

Selections from the African collection’s largest portion, which dates from the early nineteenth to the mid-twentieth century, will be installed between these two end displays, organized by five themes: protection, authority, transitions, performance, and personal beauty.

Among the works on view will be the sculpture Figure of a Horn Blower, an important example of Benin’s history of stylized naturalism; Mother with Child (Lupingu Lua Luimpe), a Lulua sculpture from the Democratic Republic of the Congo that is considered to be one of the great masterpieces of African art; Snake Pendant, a small, delicate work in gold by an unknown Ebrié or Baule artist; and Skipping Girl by Yinka Shonibare, a contemporary artist whose figures examine the history of interaction between Europe and Africa, making particular use of Dutch wax fabric, a commodity created in Europe and sold in West Africa.

The Brooklyn Museum was the first museum in America to display African objects as works of art and has one of the largest and most important collections in the country. African Innovations continues the Museum’s pioneering history in the field, inviting the visitor to examine the Museum’s world famous collection with new eyes and to celebrate centuries of African creativity. This reinstallation has been organized by Kevin Dumouchelle, Assistant Curator, Arts of Africa and the Pacific Islands, Brooklyn Museum.

[Image: Unidentified Lega artist. South Kivu or Maniema province, Democratic Republic of the Congo &quot;Three-Headed Figure (Sakimatwemtwe)&quot; 19th century, Wood, fiber, kaolin 5 1/2 x 2 x 1 1/8 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/4FCC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/4FCC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/4FCC-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/56DB" href="http://www.nyartbeat.com/event/2011/56DB">
  <Name>Patrick McDonough &quot;Awning Studies: Socrates, 2011&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/53ADECAB">
    <Name>Socrates Sculpture Park</Name>
    <Type>Museum</Type>
    <Address>32-05 Vernon Blvd., Long Island City, NY 11106</Address>
    <Phone>718-956-1819</Phone>
    <Fax>718-626-1533</Fax>
    <Access>Subway: N or W to Broadway in Queens.  Walk eight blocks along Broadway toward the East River.</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Open all year from 10am to sunset.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Opening on September 10 is an installation by Washington DC-based artist, Patrick McDonough.  Titled Awning Studies: SOCRATES, 2011, the piece is the culmination of a three-month Public Art Residency (PAR).  The PAR Program was established in partnership with the Washington Project for the Arts (WPA) to support artists in the District of Columbia area and is an extension of the Park's ongoing Open Space series, (a forum for single artist and collaborative projects). 

Awning Studies: SOCRATES, 2011 continues Patrick's exploration of the awning as a key architectural adornment and as central to the domestic vernacular of the northeastern United States.  His project takes the form of a series of fabricated awnings without buildings: some installed in tress, some arching over the water, and others rising on a combination of steel and clear acrylic supports.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/56DB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/56DB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/56DB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-09-10</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-09-10" start="14:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767636</Latitude>
  <Longitude>-73.936253</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/5C35" href="http://www.nyartbeat.com/event/2011/5C35">
  <Name>Dennis Oppenheim &quot;Salutations to the Sky&quot; </Name>
  <Venue href="http://www.nyartbeat.com/venue/C0FC248C">
    <Name>The Gabarron Foundation Carriage House Center for the Arts</Name>
    <Type>Other</Type>
    <Address>149 E 38th St., New York, NY 10016</Address>
    <Phone>212-573-6968</Phone>
    <Fax></Fax>
    <Access>Between Lexington and 3rd Ave. Subway: 7 to Grand Central</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Dennis Oppenheim (1938-2011) exhibited his work in museums and galleries worldwide since 1968. During four decades his practice has employed all available methods; writing, action, performance, video, film, photography, and installation. He has used mechanical and industrial elements, fireworks, common objects and traditional material, materials of the earth, sky, his own or another's body. He has created works for interior, exterior, and public spaces.

The close working relationship and friends hip between the Dennis Oppenheim studio and The Gabarron Foundation was initiated in 1997 with &quot;Stage Set for a Film&lt;&quot; commissioned fro Dennis Oppenheim by the City of Valladolid (Spain), completed in 1998. The studio and the foundation continued to work together on multiple projects between 1997 and 2011, fostered by mutual understanding. The Foundation is please to present the most recent project, &quot;Salutations to the Sky.&quot;

The exhibition at the Carriage House is three projects which focus on the artist's use of the intangible connection, earth to sky. This connection was alluded to often, beginning with Land Art. In &quot;Annual Rings,&quot; (1968) the schemata of annual tree rings cut in snow is severed by the river forming the boundary between the US and Canada. This work could be considered the definition of site-specificity. With &quot;Salutations,&quot; inscriptions are cut in land adjoining a river in Sacramento, California, though any river with adjoining flat land is a potential site. Both works are experienced through photography, the first realized but temporal, the second unrealized, existing in proposal form. It is in aerial photography, which places the viewer in the sky and looking at the earth, by which one best experiences these works. The second work in this exhibition is photo documentation of the project, &quot;Formula Compound, A Combustion Chamber, An Exorcism.&quot; In this work the artist made the connection between earth and sky using lines of light. Through projection, the sculpture is drawing in air, it becomes a fireworks projection machine.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/5C35-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/5C35-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/5C35-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-16</DateStart>
  <DateEnd>2012-02-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-15" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>6</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748725</Latitude>
  <Longitude>-73.977383</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/69D9" href="http://www.nyartbeat.com/event/2011/69D9">
  <Name>Mitch Miller &quot;Natural Selection&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A7C27FD9">
    <Name>Accola Griefen Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., Suite #634, New York NY 10001</Address>
    <Phone>646-532-3488</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[ACCOLA GRIEFEN GALLERY presents – Mitch Miller: Natural Selection. Mitch Miller’s work is rooted in a fraught relationship with the natural world that began in formative visits to the awe-inspiring sites where his father worked as a petroleum engineer. In Natural Selection, creature-like sculptures in reclaimed Styrofoam, perch on pedestals and hang suspended in the air. The largest hanging pieces are literally moving targets. After assembling and painting, the final stage of production involves invited participants shooting the glacial craters with a bow and arrow. This activity causes the structures to spin, gouges the textured surface and splinters off pieces that are then reassembled to create the smaller-scale sculptures. The paintings in Natural Selection also involve chance: to lay down the initial structure the artist starts blindfolded. The work in this series, Bobcat Mountain Studio, at first appears to be dramatic expressionist washes in white, violent red and charcoal.  On closer inspection an architectural fantasy that somewhat resembles the artist’s own mountain residence can be found nestled into what reveals itself to be a sweeping landscape.  Both in format and subject matter, Eastern scroll painting inspires these works, wherein the shifting scale and grandeur of nature often dwarfs the almost invisible mark of man. Miller’s work is a reminder that humans are capable of the most brutal and beautiful of things.

Mitch Miller earned degrees in Biology and Fine Art from the University of Colorado in 1997. After completing an MFA at the University of Kansas, Miller moved to New York in 2000 where he embarked on ambitious projects including the conversion of a former Times Square strip club into a massive art center. Through this project, Miller received grants from Scope International Art Fair and Socrates Sculpture Park, where he completed his first public sculptures in 2004.  The artist has since exhibited widely in the United States and abroad at venues including Marc DePuechredon, Basel, Switzerland; White Columns, New York City; Central Academy of Fine Arts, Beijing, China; Rare Gallery, New York City and ADA Gallery, Richmond, Virginia, among others. Mitch Miller now lives and works on Bobcat Mountain in Colorado.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/69D9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/69D9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/69D9-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750894</Latitude>
  <Longitude>-74.0036</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/6BCF" href="http://www.nyartbeat.com/event/2011/6BCF">
  <Name>David Kennedy Cutler &quot;Come Back New&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F9BCE37">
    <Name>Derek Eller Gallery</Name>
    <Type>Gallery</Type>
    <Address>615 W 27th St., New York, NY 10001</Address>
    <Phone>212-206-6411</Phone>
    <Fax>212-206-6977</Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street or A/C/E to 34th Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Derek Eller Gallery presents new sculpture by David Kennedy Cutler.

As an artist whose studio is situated above the Greenpoint Oil Spill, the largest urban oil spill in history, Kennedy Cutler embraces materials fashioned by  petroleum----he considers it as his primary local natural resource (albeit a metaphysical one) amidst an isolated industrial environment of warehouses and former factories. To make these sculptures, he creates molds, lines them with plastic sheeting, pours epoxy resin then integrates elements ranging from clear and tinted plexiglas, acrylic printer's process ink, photographs of oil rainbows on wet asphalt, smashed compact discs, and recycled motor oil.  The results are incandescent towers of shattered beauty.

The modeled undulations of the poured epoxy resin and manipulated plastics interact with light, filtering and distorting it, and destabilizing the sculptures' solidity. This material allows Kennedy Cutler to capture the gestures of his process in hardened sculptural form while giving the appearance of things created through seeping, spreading or sedimentation. Roland Barthes writes that &quot;Plastic is the very idea of its infinite transformation...Plastic remains impregnated throughout with this wonder: it is less a thing than the trace of a movement.&quot; It is no coincidence that plastics share the name of Greek shepherds (polystyrene, polyvinyl, polyethylene), or that the largely forgotten term for physical manipulation of form was once called &quot;The Plastic Arts.&quot; The sculptures preserve incidents, actions, un-doings, and the myriad transformations that occur as Kennedy Cutler grapples with them.

With the progressive tow of digitalization, Kennedy Cutler posits that there is a defiant need to reemphasize the physical in the world while addressing aesthetic changes as a result of the navigation of digital spaces. In Kennedy Cutler's work damage and material distress are strategies of renewal that allow for a reengagement with the skin and viscera of daily experience. These sculptures engage both the corporeal and the aesthetics of our world of plastics and technological ephemera; they act simultaneously as artifacts and as chemical totems of a propositional future. 

David Kennedy Cutler lives and works in Brooklyn, New York. His work has been included in exhibitions at Kate Werble Gallery, New York, Nice &amp; Fit, Berlin, Socrates Sculpture Park, New York, D'Amelio Terras, New York, and Portugal Arte '10, Lisbon amongst others. This will be his second exhibition with the gallery.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/6BCF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/6BCF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/6BCF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751575</Latitude>
  <Longitude>-74.005528</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/7A02" href="http://www.nyartbeat.com/event/2011/7A02">
  <Name>&quot;Mirror of the Buddha&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E60BEA54">
    <Name>Rubin Museum of Art</Name>
    <Type>Museum</Type>
    <Address>150 W 17th St., New York, NY 10011</Address>
    <Phone>212-620-5000</Phone>
    <Fax></Fax>
    <Access>Corner of 7th Ave. Subway: 1/2/3 to 14th Street or 1 to 18th Street</Access>
    <Area areaId="chelsea_east">East Chelsea</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>wednesdays closinghour 19:00, fridays closinghour 22:00, saturdays closinghour 18:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote>7-10pm the museum is free to all visitors, the K2 Lounge/bar is open from 6 pm. until late. Happy Hour 6–7 pm. Performances in the theater start at 7pm.</ScheduleNote>
  </Venue>
  <Media>2D: Other</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Other</Media>
  <Description><![CDATA[The exhibition is the third in a series of eight exhibitions and catalogs by the foremost scholar of Tibetan Buddhist painting, David Jackson. Jackson’s current research focuses on the history of Tibetan painting as it can be reconstructed through inscriptions and representations of religious lineages from Tibetan primary
sources. Treating paintings as historical documents, Jackson offers an unprecedented methodological approach to studying Tibetan art. He has examined and contextualized these objects and woven them into a rich historical narrative that provides many insights into the culture and art of Tibet and, in this exhibition, identifies the major players in the development of the Tibetan Buddhist religious traditions  --  teachers, monks, students, and patrons of  historical teaching lineages.
 
The exhibition can be seen concurrently with Once Upon Many Times: Legends and Myths in Himalayan Art until January 30, an exhibition that presents the variety of forms that tell stories of the Buddha, great teachers, legendary masters and their spiritual quests, and adventures of heroes painted in thangkas, murals, and told in front of portable shrines.
 
 
What do such ancient paintings mean to us today? According to Donald Rubin, co-founder and co-chair of the board of the Rubin Museum, “When we look at the portraits of teachers presented in the exhibition, we feel that we know them because of the human features depicted -- balding heads, peculiar facial hair, or protruding teeth. They look like people we might have met just yesterday. And in feeling that connection, we receive the inspiration they offer us -- great saints all of them -- reaching across time and space.” Chief Curator Jan Van Alphen added, “David Jackson fully explores this notion of guru worship and its artistic outcomes, noting the conflicting tendencies present in such paintings—depicting the idealized saint and the recognizable human teacher at the same time.”
 
Mirror of the Buddha includes portraits of the founders and teachers in all of the Tibetan Buddhist schools. Six Tibetan Buddhist sects are represented in all, in rough chronological order. They begin with the Kadam School, followed by Taklung, Drigung Kagyu, Karma Kagyu, Sakya, and Geluk traditions. Within each school, the paintings are ordered chronologically. Grouping the art by religious tradition allows the visitor to observe broad pan-Tibetan stylistic developments. It also highlights a few cases of striking sectarian stylistic preferences.
 
Dating between roughly 1200 and 1550, the images chosen for presentation exemplify two classic Indic styles of Tibetan painting. Most are in the East-Indian inspired Sharri (“Pala”) style, characterized by classic Indian forms, delicate colors, and intricate decorative details. Though this style spread from India to many parts of Asia, it was emulated most faithfully by Tibetans, enjoying its highest popularity in Tibet from the twelfth to fourteenth century.  A number of the later portraits are in the Nepalese-inspired Beri style, which succeeded the Sharri in Tibet in the mid-fourteenth century.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/7A02-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/7A02-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/7A02-170" width="170" />
  <Karma>0.589259</Karma>
  <Price free="0">Adults $10, Seniors, Students, Artists and Neighbors(zips 10011/10001 with ID) $7, Children under 12 and on Fridays 7pm-10pm Free</Price>
  <DateStart>2011-10-21</DateStart>
  <DateEnd>2012-03-05</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>25</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.739867</Latitude>
  <Longitude>-73.996903</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/8071" href="http://www.nyartbeat.com/event/2011/8071">
  <Name>&quot;Civic Action: A Vision for Long Island City&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B0C9F2DA">
    <Name>The Noguchi Museum</Name>
    <Type>Museum</Type>
    <Address>9-01 33rd Road, Long Island City, NY 11106</Address>
    <Phone>646-486-7050</Phone>
    <Fax>646-486-3731</Fax>
    <Access>Corner of Vernon Boulevard.  Subway: N/W to Broadway(Queens)</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>saturdays openinghour 11:00, sundays openinghour 11:00, saturdays closinghour 18:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Home to The Noguchi Museum and Socrates Sculpture Park, the Queens community where northern Long Island City and Astoria converge is a textured, mixed industrial and residential community.  A resident since 1960, Isamu Noguchi was joined in the neighborhood by fellow artist and sculptor Mark di Suvero ten years later.  Throughout his career, Isamu Noguchi collaborated with many architects, designers and civic thinkers on various public projects and in 1985, realized his vision of a single artist museum in Long Island City.  One year later, di Suvero established neighboring Socrates Sculpture Park as an ongoing laboratory for art.  More than 25 years later, the realized visions of these two renowned artists--and the spaces they transformed--have brought international attention to the area.  

In response to this neighborhood, now undergoing significant change, The Noguchi Museum and Socrates Sculpture Park have forged an alliance through Civic Action: A Vision for Long Island City.  Four artists known for their work in the public sphere were invited to form individual teams featuring an architect or planner to conceive new approaches to development in this area of Long Island City that Noguchi and di Suvero helped to shape.  Artists Natalie Jeremijenko, Mary Miss, Rirkrit Tiravanija and George Trakas have explored visionary scenarios that would enable the community to continue to coexist alongside the light manufacturing and residential communities inherent to the area.  The outcome of this eight month process will be displayed at The Noguchi Museum through April 22, 2012.  Further realized components of each team’s proposals will be exhibited at Socrates Sculpture Park in May 2012.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/8071-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/8071-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/8071-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $10, Seniors and Students $5, Members, New York City public high school students and Children under 12 Free, First Friday of the month Pay What You Wish</Price>
  <DateStart>2011-10-13</DateStart>
  <DateEnd>2012-04-22</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>73</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7668</Latitude>
  <Longitude>-73.938492</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/8870" href="http://www.nyartbeat.com/event/2011/8870">
  <Name>&quot;The Mummy Chamber&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Crafts</Media>
  <Media>3D: Other</Media>
  <Description><![CDATA[This installation of more than 170 objects from the Brooklyn Museum’s world-famous holdings of ancient Egyptian material explores the complex rituals related to the practice of mummification and the Egyptian belief that the body must be preserved in order to ensure eternal life. On view are the mummy of the priest Thothirdes; the mummy of Hor, encased in an elaborately painted cartonnage; and a nearly twenty-five-foot-long Book of the Dead scroll. Also in the installation are canopic jars, used to store the vital organs of mummies, as well as several shabties, small figurines placed in tombs, each of which was assigned to work magically for the deceased in the afterlife. The installation includes related objects, among them stelae, reliefs, gold earrings, amulets, ritual statuettes, coffins, and mummy boards.

[Image: &quot;Coffin and Mummy Board of Pa-seba-khai-en-ipet.&quot; Egypt, from Thebes. Third Intermediate Period, circa 1070–945 B.C.E. Wood, painted, 76 3/8 x 21 5/8 x 12 5/8 in. (194 x 55 x 32 cm). Brooklyn Museum, Charles Edwin Wilbour Fund, 08.480.2a–c]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/8870-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/8870-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/8870-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/9B2C" href="http://www.nyartbeat.com/event/2011/9B2C">
  <Name>&quot;Foreign Bodies&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/1FEF4D0D">
    <Name>SET Gallery</Name>
    <Type>Gallery</Type>
    <Address>287 3rd Ave., Brooklyn, NY 11215</Address>
    <Phone>718-852-7609</Phone>
    <Fax></Fax>
    <Access>Between Carroll and President Sts., Subway: R to Union Street.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[We first “make Other” by seeing, by encountering physically. Looking at the body, we begin to categorize it. Othering is one of the first steps to identifying the self; one learns who she is in relation to/ against another. It's a method of self-identification, a construction of roles, a learning of boundaries. But it is also a way to discriminate, stigmatize, demonize, condemn. We exoticise, eroticize, fetishize and objectify what seems foreign. The process of making other applies to female bodies, ethnic bodies, queer bodies, immigrant bodies. It's a mode of exclusion and alienation, of fascination tempered by disgust, a desire covered over by fear.

Each artist in this exhibition is evoking a body or a stand in for the body, and the bodies on view are ethnic, distorted, chaotic, ambiguously gendered. But each artist examines the body through his or her own lens. At times, an overt dialogue of Otherness is made visible; in other cases, it is merely a whisper heard through the layers of multiple voices.

When encountering the video work of Vydavy Sindikat, the audience is a voyeur to a dialogue. The video is of a private conversation where participants are ethnically ambiguous, the language is not English, the state is indistinctly tense. Introduced to this foreign situation, the viewer is simultaneously estranged from and placed into the role of the objectfier. One is invited to view in order to decide how to partake.

Looking at Yevgeniya Baras’s work, one comes in contact with the skin of paint, the crustiness, scarring, dryness, and layering of material, the many different modes that define the process of painting. Sometimes, she weaves the surface out of thin strips of canvas or sheets; occasionally, it’s papier-mâché that composes the initial layer. She draws with yarn, sewing a pattern, gluing glass, foil, and paper onto canvas, or cuts and rips canvas before she begins the application of oil and acrylic paint. These works dance between sculpture and painting. They talk about an uneasy kind of beauty: unsettling and slightly repulsive. They are small and overloaded, sullied, dingy, burdened, compact, demanding bodies, loved and loathed in equal measure.


Irina Danilina’s work is created using hair. The cutting of hair is ceremonial, performative; it marks time, the stages of transformation. Hair is associated with crimes against humanity; it is what is left of the massacred. It is as much an element of beauty as it is what marks the body as ethnic. Hair both repulses and attracts, connoting desire and seediness. These braids on display are traces of a female mourning. These photographs provide context , documentation of performances passed, while the objects are contained in a scientific manner. They are trapped: the ethnic body made safe, nonthreatening, disarmed, limp.

Alina and Jeff Bliumis’s sculpture of bones overtly references the body. The bones are arranged in a circle, used as formal elements to create a composition. It is a mandala, a fragmented body reaching towards wholeness. The wooden sculptures are ambiguously gendered. They hint at masculinity and femininity but they can easily switch, can easily role-play. They make sense as a pair. As a couple, they are less vulnerable, their surface queer but armed, challenging heteronormativity. Unlike the seemingly fleeting material of Danilova’s work, these pieces are heavily present; they repeatedly reaffirm themselves. There is a density, a core of materiality in them. All three sculptures are firmly present, one in its fragmentation and two in their union. All three waver between body and spirit.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/9B2C-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9B2C-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/9B2C-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.677139</Latitude>
  <Longitude>-73.986055</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/9BFF" href="http://www.nyartbeat.com/event/2011/9BFF">
  <Name>Enrico David &quot;Head Gas&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B16209D5">
    <Name>The New Museum of Contemporary Art</Name>
    <Type>Museum</Type>
    <Address>235 Bowery, New York, NY 10002</Address>
    <Phone>212-219-1222</Phone>
    <Fax></Fax>
    <Access>On the corner  of Prince St. Subway: 6 to Spring Street or N/R to Prince Street. Bus: M103 to Prince and Bowery or M6 to Broadway and Prince.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[“Head Gas” is the first New York exhibition by Italian-born, Berlin-based artist Enrico David. Over the past twenty years, David has produced a body of work encompassing painting, drawing, sculpture, and collage that draws upon a rich variety of sources and expresses a range of complex emotional states. Although his work is highly celebrated throughout Europe—the artist was among the nominees for the 2009 Turner Prize, for example—David’s work has rarely been exhibited in the United States.

The figures populating David's work convey the struggle of adaptation, both physical and psychological, of the self and of the image. In his art, we see haunting, incomplete, and sometimes grotesque characters fighting against and merging into backgrounds comprising a personal lexicon of forms. These patterns are derived from craft, folk art, and twentieth-century design, as well as advertising, techniques of display, fashion, and art historical moments. Previously, David choreographed his figurative works to imply dramatic narratives, at times using the exhibition space as a stage. His exhibitions function as performances of self-analysis constructed and theatricalized specifically for public display. Through David’s highly personalized iconography, the works act as mirrors, reflecting viewers’ desires, fears, and vulnerabilities. In David’s more recent work, the implications and strands of psychological tension are enacted within a more formalized, image-based corporeality.

For his ‘Studio 231’ exhibition, David has created an entirely new body of work. The paintings and works on paper are part of a series of portraits rendered delicately in pencil and luminescent fields of acrylic paint applied with a sponge or caressing brush. David’s imagery suggests bodies at the point of apparition or dissolution—beings that cannot be contained or consumed, perhaps only passed through, and reluctantly present.

“I imagine these images as the product of a conscious, physiological act of will. To exist despite the alienating and antagonizing nature of their surrounding environment—as if a precarious and utterly temporary agreement was struck between them and the molecular components of paint and canvas, lines and colors, even the space itself, threaten to engulf them,” says David. “These conditions, as ridiculous and unlikely as they may sound, represent for me an experience that feels real, necessary to embrace, even optimistic.”

“Head Gas” also features a new series of hand-painted paravents. These folding screens, originally conceived by the artist for his own apartment, create an architectural intervention within the exhibition space, simultaneously connecting to the images occupying the gallery.

Enrico David is the second artist featured in the New Museum’s new ‘Studio 231’ series. The Museum inaugurated the series in October 2011, with a new installation and performances by London-based artist Spartacus Chetwynd. ‘Studio 231’ is a series of commissioned projects in the museum’s adjacent, ground-floor space at 231 Bowery. This new initiative will give international, emerging artists the opportunity to realize ambitious new works conceived especially for the space. These projects at 231 Bowery also seek to foster a new relationship between the artists and the public by allowing artists to create work outside the confines of the main museum building and in closer proximity to the energy of the street and to the creative space of the artist's studio.

Enrico David was born in Ancona, Italy, in 1966. He studied fine art at Central Saint Martin’s in London.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/9BFF-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2011/9BFF-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">General Admission $12, Seniors $10, Students $8, 18 and under Free, Members Free, Thursday Evenings (from 7pm) Free.</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-04-22</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>73</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.722383</Latitude>
  <Longitude>-73.99305</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/AC86" href="http://www.nyartbeat.com/event/2011/AC86">
  <Name>&quot;Figure in the Garden&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AE192502">
    <Name>The Museum of Modern Art</Name>
    <Type>Museum</Type>
    <Address>11 W 53rd St., New York, NY 10019</Address>
    <Phone>212-708-9400</Phone>
    <Fax></Fax>
    <Access>Between 5th Ave. and 6th Ave.  Subway: V/E to 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>Summer Hours through Sept. 3: Sunday through Wednesday, 10:30 a.m.–5:30 p.m. Thursday through Saturday, 10:30 a.m.–8:30 p.m.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[This summer’s Sculpture Garden installation brings together figurative works from the late 19th century to the present day. Making its debut in the Sculpture Garden is Figurengruppe/Group of Figures, by contemporary German artist Katharina Fritsch (b. 1956). Conceived in 2006–08, the work features nine life-size sculptures of, among other figures, St. Michael, a Madonna, a giant, and a snake, all rendered in precise detail and finished in bold colors. Religious symbolism and references to mythology abound, yet any fixed meaning remains open and elusive. Group of Figures is joined by earlier works such as Auguste Rodin’s heroic St. John the Baptist Preaching (1878–80) and Aristide Maillol’s pensive Mediterranean (1902–05). Striking a casual pose in his derby hat is Elie Nadelman’s Man in the Open Air (c. 1915), and perched atop a tall pedestal is Gaston Lachaise’s open-armed, voluptuous Floating Figure (1927). Perennial favorites like Picasso’s She-Goat (1950) and Miró’s Moonbird (1966) are on view as well, in addition to works by Renée Sintenis, Max Ernst, Alberto Giacometti, Henry Moore, and Tom Otterness.

[Image: Katharina Fritsch &quot;Figurengruppe&quot; 2006–08 (fabricated 2010–11). Bronze, copper, and stainless steel, lacquered, dimensions variable. Gift of Maja Oeri and Hans Bodenmann (Laurenz Foundation). © 2011 Katharina Fritsch]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/AC86-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2011/AC86-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $25, Seniors $18, Students $14, Children and Members and on Friday 4pm–8pm Free. Film Admission as of September 1, 2011: $12 adults; $10 seniors, 65 years and over with I.D.; $8 full-time students with current I.D. (for admittance to film program</Price>
  <DateStart>0000-00-00</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.761072</Latitude>
  <Longitude>-73.977008</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/D3F8" href="http://www.nyartbeat.com/event/2011/D3F8">
  <Name>&quot;White Gold: Highlights from the Arnhold Collection of  Meissen Porcelain&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/745F2E48">
    <Name>The Frick Collection</Name>
    <Type>Museum</Type>
    <Address>1 E 70th St., New York, NY 10021</Address>
    <Phone>212-288-0700</Phone>
    <Fax>212-628-4417</Fax>
    <Access>Between Madison Ave. and 5th Ave.  Subway: 6 to 68th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>sundays openinghour 11:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Ceramics</Media>
  <Description><![CDATA[Visitors to The Frick Collection will be able to enjoy a new gallery — the first major addition to the museum's display spaces in nearly thirty-five years. The inspiration for this initiative, which involves the enclosure of the portico in the Fifth Avenue Garden, comes from the intention of museum founder Henry Clay Frick (1849–1919) to build an addition to his 1914 mansion for his growing Collection of sculpture. The project was postponed in 1917 following the United States entry into World War I, and Mr. Frick died before it could be resumed. In recent years, the institution has placed greater focus on sculpture through critically acclaimed exhibitions and several key acquisitions, while also evaluating the effectiveness of the display and lighting of such objects. Another area of increased focus has been the decorative arts. When talks began with renowned porcelain collector Henry H. Arnhold about a promised gift, the idea to create a gallery both for sculpture and the decorative arts was revisited. The architecture firm Aedas developed a plan to integrate the outdoor garden portico into the fabric of the museum, and groundbreaking occurred last winter. Aedas, formerly known as Davis Brody Bond Aedas, is one of the leading practices in the United States engaged in a range of museum and landmark structure commissions.

The Portico Gallery for Decorative Arts and Sculpture opens in late October with an inaugural exhibition of works drawn from Henry Arnhold's promised gift of 131 examples of Meissen porcelain from the early years of this Royal Manufactory's production. &quot;White Gold: Highlights from the Arnhold Collection of Meissen Porcelain&quot; will feature approximately seventy of these objects, presented along with a group of eighteenth-century sculptures by Jean-Antoine Houdon (1740–1828). Among the latter works is the full-length terracotta &quot;Diana the Huntress&quot;, a signature work at the Frick that returns to view having been recently cleaned and treated. It finds a permanent home in the new portico gallery, while the ongoing display of other sculptures and ceramics will rotate periodically.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/D3F8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/D3F8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/D3F8-170" width="170" />
  <Karma>0.245846</Karma>
  <Price free="0">Adults $18, Seniors $15, Students $10, Members Free, Sunday 11am-1pm Pay As You Wish</Price>
  <DateStart>2011-10-25</DateStart>
  <DateEnd>2012-04-29</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>80</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
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  <Latitude>40.771139</Latitude>
  <Longitude>-73.967922</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/EAC4" href="http://www.nyartbeat.com/event/2011/EAC4">
  <Name>Donald Baechler &quot;Painting and Sculpture&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/6E8CA5FD">
    <Name>Fisher Landau Center For Art</Name>
    <Type>Cultural Center</Type>
    <Address>38-27 30th St., Long Island City, NY 11101</Address>
    <Phone>718-937-0727</Phone>
    <Fax>718-937-9397</Fax>
    <Access>Between 38th Ave. and 39th Ave.  Subway: N/W to 39th Avenue</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Fisher Landau Center for Art presents an exhibition exploring a wide range of Donald Baechler's artwork in two and three dimensions, created over the last 25 years. In the mid 1980's, the subject matter of his large-scale paintings began quite literally to jump off the walls, transforming into monumental bronze sculptures. Installed on two floors of the Center, the exhibition is made up of work from Fisher Landau Center for Art, supplemented by work from Donald Baecher's personal collection, highlighting the interplay of recurring motifs as they transform from the painted surface to objects in space.

Born in Hartford, Connecticut in 1956, Baechler's artistic training took place in New York, Baltimore, and Germany. In the early 80s, Baechler came into prominence alongside Basquiat, Haring, Condo and the German artists - Dokoupil and Kippenberger. He has exhibited internationally since the outset of his career and is renowned for a distinctive practice, evoking a child-like fascination with cultural symbols and commonplace elements. Emily Fisher Landau began collecting his artwork in 1985 with the purchase of &quot;Globe&quot;, 1984/85, a 52 inch square canvas whose surface is made with acrylic, cotton, paper &amp; rhoplex. Since that time Mrs. Landau has added close to 30 pieces, comprising a selection of painting, sculpture &amp; works on paper that form a cohesive cross section of Baechler's thematic vocabulary.

Included in the installation are &quot;Priceless, Wordless, Loveless&quot;, 1987-88, (111 x 111 inches), exhibited in the 1989 Whitney Biennial, a painting on linen that became the inspiration for &quot;Tree&quot;, 1988, one of Baechler's first sculptures cast in bronze. Other paintings on display include &quot;Deep North&quot;, 1989, also included in the 1989 Whitney Biennial, a seminal example of his textural layering process using acrylic, oil and fabric collage on linen, as well as &quot;Autonomy or Anarchy #1&quot; (102 ½ x 117 3/4 inches) &amp; &quot;Autonomy or Anarchy #2&quot; (99 x 114 inches), both 2003, enormous works on paper depicting disembodied horse heads, facing each other and floating on a frenetic field of collaged paper and fabric, and mounted to linen. &quot;Scarecrow&quot;, 2006, (136 x 70 x 37 inches) a towering bronze installed on the outdoor entry ramp, welcomes the viewers to the Center with a passive demeanor that belies its aggressive scale. The third floor gallery presents an oversized landscape made up of Baechler's bronze &quot;Plants&quot;, 2003-04 and &quot;Flowers&quot;, 2003-07, ranging in size up to seven feet tall. Forming a progression in space, they lead to &quot;Bather (large version)&quot;, 1997 (78 x 66 x 60 inches), a fountain of cast bronze featuring an archetypal Baechler figure, immersed in an enormous water-filled bucket.

Housed in a former parachute harness factory, Fisher Landau Center for Art was designed by Max Gordon in association with Bill Katz and is devoted to the exhibition and study of the contemporary art collection of Emily Fisher Landau. The core of the 1500 work collection spans 1960 to the present and contains key works by artists who have shaped the most significant art of the last 50 years. Emily Fisher Landau's insightful selection of works by contemporary masters, many of which she purchased from the artists at the outset of their careers, is reflected in exhibitions presented at Fisher Landau Center for Art. Her ongoing commitment to emerging artists extends to the annual presentation of the Columbia University School of Visual Arts MFA Thesis Exhibition. In May of 2010, Mrs. Landau made a historic pledge of 417 artworks by nearly 100 artists, to the Whitney Museum of American Art. Excerpts from &quot;Legacy&quot; a traveling exhibition that highlights the gift to the Whitney Museum, will be on view at the Center concurrently with Donald Baechler: Painting &amp; Sculpture.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2011/EAC4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-10</DateStart>
  <DateEnd>2012-04-01</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-10" start="14:00:00" end="17:00:00">Opening Reception</Party>
 <DaysBeforeEnd>52</DaysBeforeEnd>
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  <Latitude>40.753972</Latitude>
  <Longitude>-73.933017</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/EBFC" href="http://www.nyartbeat.com/event/2011/EBFC">
  <Name>&quot;Projects 96: Haris Epaminonda&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AE192502">
    <Name>The Museum of Modern Art</Name>
    <Type>Museum</Type>
    <Address>11 W 53rd St., New York, NY 10019</Address>
    <Phone>212-708-9400</Phone>
    <Fax></Fax>
    <Access>Between 5th Ave. and 6th Ave.  Subway: V/E to 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>fridays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>Summer Hours through Sept. 3: Sunday through Wednesday, 10:30 a.m.–5:30 p.m. Thursday through Saturday, 10:30 a.m.–8:30 p.m.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The museum presents the first solo exhibition in the United States of Berlin-based artist Haris Epaminonda.

Epaminonda is internationally known for her photographic assemblages constructed from found books and magazines of the 1960s, and for her video installations, in which television footage culled from Greek soap operas that she used to watch as a child on Sunday afternoons in Cyprus, are reshot and re–edited in new sequences, creating a web of elusive associations. This exhibition presents Epaminonda's three–channel video installation &quot;Tarahi IIII, V, VI&quot; (2007), part of an ongoing series that enlists the use of reverse shooting, montage, cuts, superimposition, and repetition of motifs to address the permeability of memory.

[Image: Haris Epaminonda. Video still from Tarahi V from Tarahi IIII, V, VI. 2007. Three-channel video installation, color, sound, 7:36 mins. Courtesy the artist &amp; Rodeo, Istanbul. © 2011 Haris Epaminonda]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/EBFC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EBFC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/EBFC-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $25, Seniors $18, Students $14, Children and Members and on Friday 4pm–8pm Free. Film Admission as of September 1, 2011: $12 adults; $10 seniors, 65 years and over with I.D.; $8 full-time students with current I.D. (for admittance to film program</Price>
  <DateStart>2011-11-17</DateStart>
  <DateEnd>2012-02-20</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>11</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.761072</Latitude>
  <Longitude>-73.977008</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/ECCB" href="http://www.nyartbeat.com/event/2011/ECCB">
  <Name>New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F6CEBC1">
    <Name>The Metropolitan Museum of Art</Name>
    <Type>Museum</Type>
    <Address>1000 Fifth Ave., New York, NY 10028</Address>
    <Phone>212-570-3951</Phone>
    <Fax>212-472-2764</Fax>
    <Access>Corner of 82nd St.  Subway: 6 to 77th Street or 4/5/6 to 86th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>17:30:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>fridays closinghour 21:00, saturdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>Open on some holiday Mondays.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[More than one thousand works from the preeminent collection of the Museum's Department of Islamic Art—one of the most comprehensive gatherings of this material in the world—will return to view this fall in a completely renovated, expanded, and reinstalled suite of fifteen galleries. The organization of the galleries by geographical area will emphasize the rich diversity of the Islamic world, over a span of thirteen hundred years, by underscoring the many distinct cultures within its fold.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/ECCB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/ECCB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/ECCB-170" width="170" />
  <Karma>0.525454</Karma>
  <Price free="0">Suggested Donations: Adults $25, Seniors $17, Students $12, Members and Children Free</Price>
  <DateStart>2011-11-01</DateStart>
  <DateEnd>0000-00-00</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>0</DaysBeforeEnd>
  <PermanentEvent>1</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.779</Latitude>
  <Longitude>-73.962342</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/F308" href="http://www.nyartbeat.com/event/2011/F308">
  <Name>&quot;Mongol Visions: Winged Horses and Shamanic Skies&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F027B9B1">
    <Name>Tibet House</Name>
    <Type>Cultural Center</Type>
    <Address>22 W 15th St. New York, NY 10011</Address>
    <Phone>212-807-0563</Phone>
    <Fax>212-807-0565.</Fax>
    <Access>Between 5th and 6th Ave. Subway: F/L/V to 6th Ave.and 14th St. or 4/5/6/L/N/Q/R/W to Union Square.</Access>
    <Area areaId="flatiron_gramercy">Flatiron, Gramercy</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Calligraphy</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[For more than two thousand years the Mongols have dominated the center of the Silk Road. Here, under the guidance of the great Khaans like Genghis and Kublai, the ancient traditions of shamanism and Indo-Tibetan Buddhism merged into a profound stream. The vast influence of Mongolia on Euro-Asian civilization is only now being fully appreciated. Tibet House is delighted to join in the celebration of this inspiring and magical legacy by hosting an exhibition with six of Mongolia’s greatest award-winning young artists whose works bring together the integrity of tradition and the creative impulse of the contemporary aesthetic.

These celebrated artists include Gankhuyag Natsag, whose paintings, statues and traditional lama dance masks have shown in more than a dozen cities around the world; D. Soyolmaa, renowned for bringing the clarity and precision of traditional Buddhist art into a contemporary ambiance; T. Nurmaa, famed for her ability to capture on canvas the radiance and raw intensity of the Mongolian spirit; D. Bulgantuya, an acclaimed artist who has received rave reviews in Sofia, Budapest, Warsaw, Kiev, and Vienna; and Ts. Bolor, especially known for her “aesthetics of the feminine.” 

Please join us for the opening reception. Robert Thurman, Glenn Mullin and several of the artists will be present in this celebration of their works.

]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/F308-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/F308-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/F308-170" width="170" />
  <Karma>0.690789</Karma>
  <Price free="1">Free</Price>
  <DateStart>2011-12-01</DateStart>
  <DateEnd>2012-02-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2011-12-01" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>6</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.737083</Latitude>
  <Longitude>-73.993736</Longitude>
 </Event>

 <Event xml:lang="en" id="2011/FEEE" href="http://www.nyartbeat.com/event/2011/FEEE">
  <Name>&quot;Korean Eye: Energy and Matter&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EB18574C">
    <Name>Museum of Arts &amp; Design</Name>
    <Type>Museum</Type>
    <Address>2 Columbus Circle, New York, NY 10019</Address>
    <Phone>212-299-7777</Phone>
    <Fax></Fax>
    <Access>At 58th St. and 8th Ave.  Subway: B/C/D to 59th Street/Columbus Circle</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>thursdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>In the Summer opened on Tuesdays.  Check with the venue for details.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The exhibition, which brings together 21 emerging and established Korean artists working in photography, painting, video, and mixed media. &quot;Korean Eye&quot; reflects a new era of diversity in Korean life, politics, and culture, and offers a unique opportunity for education and appreciation of Korea's rapidly developing art scene, which until recently has seen little global exposure. The exhibition offers an illuminating commentary on the philosophical and aesthetic conditions of modern Korean culture, from virtual reality and the pervasive influence of fantasy and pop culture to the dehumanization inherent in a post-industrial society. By turns ironic, satirical, and metaphorical, the exhibition includes photo-sculptures by Seung Hyo Jang; embroidery and acrylic paintings by Young In Hong; a large, imposing shark fabricated from reclaimed and repurposed automobile tires by Yong Ho Ji; and Meekyoung Shin's astonishing &quot;antique&quot; porcelain vases, rendered in soap.

[Image: Hong Young In &quot;Procession (detail)&quot; (2010) embroidery, acrylic, scenic cotton fabric, 78 3/4 x 126 in. Courtesy of the artist.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2011/FEEE-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2011/FEEE-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2011/FEEE-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $15, Students and Seniors $12, Members and Children under 12 Free, Thursdays 6 - 9pm Pay What You Wish</Price>
  <DateStart>2011-11-01</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767589</Latitude>
  <Longitude>-73.982067</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/008B" href="http://www.nyartbeat.com/event/2012/008B">
  <Name>John Miller &quot;Suburban Past Time&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1BFE12E5">
    <Name>Metro Pictures</Name>
    <Type>Gallery</Type>
    <Address>519 W 24th St., New York, NY 10011</Address>
    <Phone>212-206-7100</Phone>
    <Fax>212-337-0070</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[John Miller elaborates on many of the tropes he has masterfully cultivated throughout his thirty-plus year career in “Suburban Past Time,” his latest exhibition at Metro Pictures. Through artificial rocks and plants ranging in scale from massive to ordinary, wallpaper, store-bought and handmade decorative elements and the continuous presence of two people, Miller transforms the gallery into a bizarre yet familiar public space. The works included in the exhibition are a continuation of the artist’s ongoing sociological investigation into so-called middlebrow culture, which focus on artifice in Western consumer societies. 

To evoke a sense of the generic, Miller pastes two vector print wallpapers depicting exterior views of nondescript plattenbauten, or apartment blocks, in Berlin and a beach resort on the working class tourist island of Mallorca, Spain. With the wallpapers are two carpets spelling “NO,” filing cabinets painted in what Miller describes as “hot rod finish,” and an oversized tree and rock that refer to the practice of using fake “natural” objects to hide pool pumps in suburban backyards. Continuously present amidst the installation are two people who either sit on a chair reading or rest on a plinth. 

Also on view are a series of flash animations Miller created with long time collaborator Takuji Kogo under the name Robot. Lifting the text from personal ads and setting them to MIDI voice recordings, cultural hierarchies related to age and wealth emerge from the borrowed lyrics of these videos projected on the gallery’s walls.

[Image: &quot;Suburban Past Time,&quot; installation view, 2012. Metro Pictures, New York.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/008B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/008B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/008B-170" width="170" />
  <Karma>6.84492</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74875</Latitude>
  <Longitude>-74.004292</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/024F" href="http://www.nyartbeat.com/event/2012/024F">
  <Name>&quot;Méré Humd(r)um&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F86F2FF2">
    <Name>Aicon Gallery</Name>
    <Type>Gallery</Type>
    <Address>35 Great Jones St., New York, NY 10012</Address>
    <Phone>212-725-6092</Phone>
    <Fax></Fax>
    <Access>Between Lafayette St. and Bowery. Subway: 6 to Bleecker Street or to Astor Place.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Aicon Gallery New York presents Méré Humd(r)um, a group exhibition of Contemporary art from a new wave of young Pakistani artists. The Urdu word Humdum, one syllable removed from its mundane English cousin, means someone who is so close that their breath and yours are one. The word Méré, with even less separating it from the minimal, almost pejorative, “mere” of the English language, is infused with belonging - it means mine. Together, Méré Humdum becomes a term of endearment for a mentor, a friend or a lover. But in a linguistic coincidence it is just a syllable away from the English “mere humdrum.” Today, more than sixty years after Pakistan’s independence, the ordinary, the everyday, the humdrum, remains an object of longing for most Pakistanis - the type of longing one might reserve for a lover. A day when there is no bombing, no violence on the streets - a day when the school bus is delayed only by traffic is a day of thanksgiving and celebration. The twelve artists in this exhibition have created work in direct response to the chaos and violence surrounding them, yet much of this work is imbued with an intrinsic and eternal optimism that stands in defiant contrast to the instability and uncertainty from which it has emerged.

Much like Germany’s Weimar Republic of the 1930s, an odd dichotomy is in place with today’s generation of young Pakistani artists. While on the one hand, their political, economic and social situations are spinning out of control, the visual arts, in this landscape of circumscribed opportunities, is undergoing a transformation and creative flowering never before seen. This younger generation largely departs from the more traditional methods of their artistic heritage, such as miniature painting, and combines local materials and themes with progressive modes of post-colonial art practice, offering new interpretations and posing new questions for a society mired in political turmoil, social upheaval and violence both foreign and domestic.

Abdullah M. I. Syed’s Flying Rug works arise from Oriental myths and legends of the flying carpet and our desire for instant gratification. Made of folded U.S. dollar bills and box-cutter blades assembled into squadrons of drone-like airplanes, the rugs reference the dark and multilayered political implications of terrorism, capitalism and American hegemony, yet are intertwined with a poetic counterpoint that transmutes them and charges the works with the phenomenal capability of a magic carpet or the sublime stillness of a prayer rug. The works question not only the roots and consequences of 9/11 and the ongoing War on Terror through the prism of oversimplified Eastern and Western perceptions of one another, but also the complex relationship between capital and Contemporary art.

Cyra Ali’s haunting sculptures of disembodied intertwined limbs adorned in bright fabrics obtained from Karachi bazaars are a daring subversion of the overtly clad female body of Islamic tradition. The work stems from her desire to overturn the conventional trappings of femininity in Pakistani society and combat longstanding patriarchal desires to repress female sexuality. Ali’s bizarre doll-sized mash-ups of female legs blur the line between the most ordinary of body parts and the sinister and monstrous proportions they are capable of taking on when continually contextualized as taboo objects of desire to be both coveted and suppressed. More straightforwardly, Sarah Khan’s art is born from her resolute devotion to Pakistan, her beloved State, and her desire to see its artistic traditions, mainly miniature painting, evolve to address the socio-political complexities of its contemporary reality. She addresses her humdum (her Pakistan) for its charm and fading glory as she fortifies her wish for its resurrection from a negative entity to a positive one. 

Ehsan Ul Haq creates Duchampian assemblages of found everyday objects in which the individual components, though ordinary enough, are re-contextualized as dysfunctional or symbolic elements in what he calls “flawed systems.” Ul Haq sees his installations as operating “on a plane where art and life exist as parallels within ambiguous forms.” Through installations such as Fan and Water, man-made objects are stripped of their utility and repurposed in creations demonstrating both man’s god-like ambition to create new systems of life and the resulting absurdities brought into being when such attempts misfire.

Ultimately, this exhibition presents an examination of how a new generation of Contemporary Pakistani artists, through a range of disparate media and practices, continue to develop new methods of questioning the space between art and life in the often violent and chaotic reality they are faced with every day. Their work addresses not only the chasm and interstices between the two, but the extraordinary possibilities of art created in extraordinary surroundings.

[Image: Seher Naveed &quot;EVENING CONVERSATIONS&quot; (2011) Paper cuts, 15 x 18 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/024F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/024F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/024F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.726919</Latitude>
  <Longitude>-73.993233</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0423" href="http://www.nyartbeat.com/event/2012/0423">
  <Name>Robert Buck &quot;Kahpenakwu&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F7CD35E1">
    <Name>CRG Gallery</Name>
    <Type>Gallery</Type>
    <Address>548 W 22nd St, New York, NY 10011</Address>
    <Phone>212-229-2766</Phone>
    <Fax>212-229-2788</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[For his second show at CRG Gallery, Robert Buck (who previously showed under the name Robert Beck) exhibits sculptures, assemblages, paintings, and drawings inspired by the deserts of the American southwest – Kahpenakwu, or “west” in the Comanche language. In his desert sojourns, Buck finds source material in the natural environs (lechuguilla seed pods, devil’s head cactus areoles, yucca dagger leaves) and the detritus of American consumerism (rusted sheet metal, a wooden shipping palette, soda cans bleached by the sun). With this found desert material, the artist incorporates construction materials used in off-the-grid structures, including cinder blocks, concrete pavers, and metal fence poles.

In Through the Night That, an American flag, dyed pitch black and affixed to a metal pole, stands in a roll of barbed wire. The black flag is graphically reminiscent of a star spangled night sky, while the spiked, tangled physicality of the barbed wire itself echoes desert flora, notably ocotillo plant stalks. Buck finds the tranquility of nature at odds with the artificial and heavily enforced boundaries imposed by the border.
Contending with the “other” permeates Buck’s work. In a new series of drawings in which the artist redrafts drawings by American Indians – “savages” after his earlier drawings by “children” – the source material includes drawings by a Kiowa Native American named Silver Horn. Buck redraws Big Horn’s depictions of torture and conflict, highlighting not only the Kiowa tribe’s encounter with otherness, in the White Man, but also the sense that identity and intent are determined historically and contextually.

Language informs much of Buck’s work. In his “By Any Other Name” and “Second Hand” painting series, he appropriates signatures from sign-in books from his previous gallery shows. The “Second Hand” series is comprised of thrift store paintings, across which the artist enlarges a signature, and then signs it “R. Buck”. With this action, the artist questions the notion of authorship, while blurring the line between the painting’s original artist, gallery observer, and himself. Both series utilize the grid, as a kind of foundation or screen, either as a means to transcribe a signature to a canvas, or as a digitally printed background – specifically the “transparency” layer found in Adobe Photoshop.

The artist employs smoked Plexiglas as a stand-in for gorilla glass—the reflective surface of hand-held Apple products, like iPhones and iPads. In the same way that the Photoshop grid is apperceived as a limit, the murky Plexiglas functions as a marker of our times—before and, ultimately, after Apple. It also serves as a pane through which we encounter images, like the Navajo buck, gleaned from the internet (like all of the images in show) in El Camino Real, or the dismembered victims of a Mexican cartel in An Eye For An Eye For An Eye For An Eye For An Eye. Alongside the natural elements, the lustrous material highlights that what appears literally in reach and immediate may be in truth remote and transitory.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0423-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0423-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0423-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747488</Latitude>
  <Longitude>-74.006126</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/043F" href="http://www.nyartbeat.com/event/2012/043F">
  <Name>Monica Cook “Volley”</Name>
  <Venue href="http://www.nyartbeat.com/venue/10EF30FF">
    <Name>Postmasters Gallery</Name>
    <Type>Gallery</Type>
    <Address>459 W 19th St., New York, NY 10011</Address>
    <Phone>212-727-3323</Phone>
    <Fax></Fax>
    <Access>Between 9th and 10th Ave., Subway: A/C/E to 14th Street or L to 8th Avenue.</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[In her first solo show with Postmasters Monica Cook presents “Volley,” a stop-animation video, and a group of moveable sculptures and photographs. In “Volley” a series of intimate narrative vignettes takes place in a world of human-like cave dwelling monkeys. Tender, expressive, attractive and repulsive all at once they live, love, dream, and die. The video is hard to watch and at the same time impossible to stop watching.
 
Animation is a form of magic because movement is a sign of life. To endow a creature with the power of motion is to bring it, partially, imperfectly, to life. Monica Cook’s monkey-creatures are animated by some very wild magic. Cursed by their creator with deeply corrupted bodies, with scarred skin and secret interiors, with pustules and orifices and inconvenient fluids, these creatures are uncomfortably, undeniably alive. And in their imperfection, they are not only individual, they are beautiful. Volley is a love story, in a sense it is the Love Story, that grand tale which we never cease to applaud: The brutality of biological lust tempered by the delicate delusions of adoration. Cook’s beast-beings inhabit a world the colors of spun sugar and wedding mints,  where rutting lust and infinite tenderness are indivisible. A mutant monkey with too-human eyes strokes a contented wolf-puppy who dreams of devouring entrails. A perfect luminous monkey-goddess hovers unapproachably, bedecked in lewd sequins.  Idealized passions fuse with the violence of birth. Cook renders the sufferings and storms of biological life with loving, unflinching regard, inviting the viewer to both voyeurism and self-reflection.
 
“It's tempting to call the film sweet and captivating, except that it is simultaneously repulsive and disturbing. The monkeys are pockmarked with surreal, iridescent growths. We are confronted with bodily functions of fluid and flesh that accompany the typically romanticized themes of love and animal connection. Even more disconcerting is that these terrifying-looking monkeys move and act in a way that reminds us of ourselves. It's unsettling to think that our bodies have anything in common with these bodies”.
-Wyatt Williams
 
 
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/043F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/043F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/043F-170" width="170" />
  <Karma>1.21557</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-07</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-07" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744756</Latitude>
  <Longitude>-74.004783</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0635" href="http://www.nyartbeat.com/event/2012/0635">
  <Name>Alfred Jensen / Sol LeWitt &quot;Systems and Transformation&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C4A326ED">
    <Name>The Pace Gallery (32 E 57th St)</Name>
    <Type>Gallery</Type>
    <Address>32 E 57th St., 2 Fl., New York, NY 10022</Address>
    <Phone>212-421-3292</Phone>
    <Fax>212-421-0835</Fax>
    <Access>Between Madison and Park Ave. Subway: 4/5/6 to 59th St. and N/R to 5th Ave.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>09:30:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 10:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Exhibited side-by-side, Jensen’s colorful and tactile abstract paintings and LeWitt’s minimalist white structures reveal the vastly different outcomes that can arise from similar conceptual foundations. Jensen uses mathematical systems to construct two-dimensional grid paintings and demonstrate color theories, but the work itself is metaphorical, referencing pre-Colombian and Asian cultures, textiles, and divination. LeWitt’s three-dimensional grid sculptures, in contrast, are self-referential, rooted in logic and reality, and governed by mathematical instructions that objectively organize space. The exhibition will include eight paintings by Jensen and eight open geometric structures by LeWitt. 

Jensen's intricately organized diagrams reflect his distinctive conceptual approach, begun in the late 1950s when he started to refine his wide-ranging studies of systems and philosophies—from theories of color and light, mathematics, and the Mayan calendar, to scientific formulations—into multicolored checkerboards. The paintings on view, made between 1960 and 1975, include one of Jensen’s largest and most complex works, &quot;A la Fin de l’automne&quot; (1975). A honeycomb of color, numbers, and symbols, the elements alternate between light and dark, with each square bearing an abstract marker. Jensen had travelled to Brazil and Peru just one year earlier, and the work suggests the pattern of a pre-Colombian tapestry rendered in thick impasto. 

In contrast, LeWitt’s austere open structures, made from basic geometrical units arranged according to pre-determined mathematical sequences, reflect their own poetics. A pillar of minimalist and conceptual art, Sol LeWitt helped revolutionize the definition of art in the 1960s with his famous declaration that “the idea becomes a machine that makes the art.” Reducing art to its essentials, the cube became the basic modular unit for his artistic inquiry—the “grammatical device” from which his work would proceed. A universally recognizable form that could not be mistaken to represent anything other than itself, the cube eliminated the necessity of inventing another form, allowing the form itself to be used for invention. The exhibition will feature all manner of structures of forms derived from the cube, made out of wood or aluminum and painted white, from between 1971 and 1997, including the ceiling-mounted work &quot;Hanging Structure&quot; (1992), and a maquette for an outdoor structure similar to those recently featured in the Public Art Fund’s landmark survey exhibition &quot;Sol LeWitt Structures: 1965–2006,&quot; installed in New York’s City Hall Park from May to December 2011. 

Concurrently, Pace has installed a monumental concrete block structure by Sol LeWitt on the roof of its Chelsea gallery at 510 West 25th Street, which is visible from the High Line. The structure, &quot;Horizontal Progression&quot; (1991), continues LeWitt’s interest in generating variety within self-imposed constrictions, moving only horizontally, vertically, or diagonally to the left or right. 

[Image: Alfred Jensen &quot;A la fin de l'automne&quot; (1975) oil on canvas, four panels, overall: 6 ft. 2 in.&quot; x 12 ft. 4 in. © Estate of Alfred Jensen/Artists Rights Society (ARS), New York. Photo by: Bill Jacobson/Courtesy The Pace Gallery.]
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0635-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0635-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0635-170" width="170" />
  <Karma>3.90572</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762086</Latitude>
  <Longitude>-73.972417</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/065B" href="http://www.nyartbeat.com/event/2012/065B">
  <Name>Allen Glatter &quot;Trots and Bonnie&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7B8C9EDC">
    <Name>Rawson Projects</Name>
    <Type>Gallery</Type>
    <Address>223 Franklin St., Brooklyn, New York 11222</Address>
    <Phone>718-388-2706</Phone>
    <Fax></Fax>
    <Access>Corner of Eagle St. Subway G to Greenpoint Avenue.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="1" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Rawson Projects is pleased to announce an exhibition of new sculptures by Allen Glatter. Born in 1967, Glatter received his BFA from Pratt Institute and currently lives and works in Brooklyn.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/065B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/065B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/065B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.7346</Latitude>
  <Longitude>-73.958633</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/077A" href="http://www.nyartbeat.com/event/2012/077A">
  <Name>&quot;Expanding the Landscape&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/35626DC5">
    <Name>Art 101</Name>
    <Type>Gallery</Type>
    <Address>101 Grand St., Brooklyn, NY 11211</Address>
    <Phone>718-302-2242</Phone>
    <Fax></Fax>
    <Access>L train to Bedford Ave. Walk on Bedford, past Metropolitan Ave. to Grand Street, turn right and walk one block to 101.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Limpert's figurative sculptures reflect the architectural structures of her native New York.
&quot;Steel allows me to create life-size open bodily forms while leaving space for the unseen aspects of the figure. Several pieces in the exhibition are manually operated by a hand-crank...Interestingly, the mechanical motion adds an element of humanity to the work.&quot;
 
She has been creating the animation for the holiday windows for Lord &amp; Taylor, Macy's and Saks Fifth Avenue for ten years. In 2006 and 2007, her sculptures were featured in the windows of Bergdorf Goodman.
 
Limpert has exhibited extensively here in New York and in Europe. She is a teaching Artist with the Rush Foundation.
 
Patrick Whalen began exhibiting in California, at the Yerba Buena Center for the Arts in San Francisco and the Berkeley Art Museum, prior to moving to New York where he has shown at White Columns and Smack Mellon Studios among other venues. This is his third exhibition at ART 101.
           
His drawings examine both time and memory.
&quot;How memory can mash events together. How it can play tricks on you. How your perceptions can be off, but so sharp in remembering a tiny detail. I base my work on photos I take. I have hundreds of them and I work from those re-assembling my memories... (The installation) ... all came together to be a fiction, an image of something that very well could have happened.&quot;
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/077A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/077A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/077A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715389</Latitude>
  <Longitude>-73.963497</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0CEF" href="http://www.nyartbeat.com/event/2012/0CEF">
  <Name>&quot;New City&quot; Art Fair</Name>
  <Venue href="http://www.nyartbeat.com/venue/65007A7F">
    <Name>Hpgrp Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 2W, New York, NY 10011</Address>
    <Phone>212-727-2491</Phone>
    <Fax>212-727-7030</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street Station</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[H.P. FRANCE NY, Inc presents the launch of the NEW CITY ART FAIR, the first art fair dedicated solely to contemporary Japanese art in New York.

Open from March 7-11, 2012—dates that coincide with SCOPE, VOLTA, ADAA, and The Armory Show - the event will include booths by eleven premiere galleries from Tokyo, Osaka, and Kyoto.

 The New City Art Fair will benefit the Japanese art world, which has been deeply affected by the traumas of the earthquake and tsunami that devastated the coastline in early 2011. Additionally, it will expose new Japanese art to a Western audience.

Exhibitors: Aisho Mura Arts, eitoeiko, FOIL GALLERY, GALLERY KOGURE, hpgrp GALLERY TOKYO, Shonandai MY Gallery, TEZUKAYAMA GALLERY, unseal contemporary, waitingroom, YOD Gallery, and YUMIKO CHIBA ASSOCIATES.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0CEF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0CEF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0CEF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-03-07</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-03-08" start="17:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746264</Latitude>
  <Longitude>-74.006225</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0D6D" href="http://www.nyartbeat.com/event/2012/0D6D">
  <Name>Robert Grosvenor Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/DD2D07C7">
    <Name>Paula Cooper Gallery &quot;534 W 21 St.&quot;</Name>
    <Type>Gallery</Type>
    <Address>534 W 21st St., New York NY, 10011</Address>
    <Phone>212-255-1105</Phone>
    <Fax>212-255-5156</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Robert Grosvenor presents a new work at Paula Cooper Gallery. Untitled (2011) is a two-part sculpture whose components include fiberglass, aluminum and concrete blocks. The exhibition will also present Untitled (1986-87), a piece consisting of a fragment of concrete wall lying on a blue tarp and sheltered by a steel structure.
 
Since first exhibiting at Park Place Gallery in 1965, Robert Grosvenor has created varied and stimulating bodies of sculpture and works on paper. His recent work, created out of materials such as wood, fiberglass or concrete, often consists of discrete and dissimilar elements put into relationship within a given space.  While abstract and at times inscrutable, his structures make oblique allusions to our everyday environment: bridges, fences, terraced patios or low-slung rock walls are variously suggested, yet, through the artist’s entirely original idiom, they are transfigured into singular and evocative forms that offer a fresh redefinition of sculpture.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0D6D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0D6D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0D6D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-04</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746709</Latitude>
  <Longitude>-74.006198</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0E72" href="http://www.nyartbeat.com/event/2012/0E72">
  <Name>Randy Polumbo Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/20A51708">
    <Name>Morgan Lehman Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St., Fl.6, New York, NY 10011</Address>
    <Phone>212-268-6699</Phone>
    <Fax>212-268-6766</Fax>
    <Access>Between 10th and 11th Avenues. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Randy Polumbo lives and works in New York City &amp; Joshua Tree, California.  His interests in recycling, salvation, &amp; transformation originate from early mad science projects with medical supplies and toys, and has progressed into monumental, techno-organic glass and crystal proliferations of &quot;blossoms&quot; with which he is colonizing, pollinating, and retooling libidinal and biological structures and systems.

[Image: Randy Polumbo &quot;Six Pack #9&quot; (2011) Vintage Louis Vuitton, cast glass baby bottle nipples, LEDs, battery pack, 4.5 x 9 x 6 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0E72-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0E72-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0E72-170" width="170" />
  <Karma>1.33484</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747592</Latitude>
  <Longitude>-74.005639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/0EA2" href="http://www.nyartbeat.com/event/2012/0EA2">
  <Name>Ryan Foerster and Ben Schumacher Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E5EAB56F">
    <Name>Martos Gallery</Name>
    <Type>Gallery</Type>
    <Address>540 W 29th St., New York, NY 10001</Address>
    <Phone>212-560-0670</Phone>
    <Fax>212-560-0671</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street Penn Station.</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Martos Gallery presents a two-person exhibition featuring work from Ryan Foerster and Ben Schumacher.


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the most terrific liar you ever saw in your life. its awful. if im on my way to buy a magazine and somebody asks me where im going im liable to say im going to the opera. its terrible so you said you wanted to give me one out of your own pocket, but it would create jealously
among the other secretaries. Now, was that true, or did you just not want to pony up the dough? don't believe me, do you? Of course not. Okay, ask me something you think I would normally lie about. Alright. Remember, a few months ago, when I wanted a raise, Forget it. I don't wanna do this! and the company wouldn't give me one, GRETA, PLEASE!

Ben Schumacher born 1985 Kitchener, Ontario and Ryan Foerster born 1983 Newmarket, Ontario met in 2006 in Brooklyn, New York where they were next door neighbors.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/0EA2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0EA2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/0EA2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751928</Latitude>
  <Longitude>-74.002611</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1036" href="http://www.nyartbeat.com/event/2012/1036">
  <Name>&quot;Detonate: Chaos and Consumerism&quot; Exhibiton</Name>
  <Venue href="http://www.nyartbeat.com/venue/91E1B154">
    <Name>Denise Bibro Fine Art</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 4 Fl., New York, NY 10011</Address>
    <Phone>212-647-7030</Phone>
    <Fax>212-647-7031</Fax>
    <Access>Between 10th Ave. and West Side Highway. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Denise Bibro Fine Art presents Detonate: Chaos and Consumerism. The exhibition features artists Nancy Baker, Carol Es, Bill Gusky, Leslie Kneisel, Tim Ripley and Oriane Stender. Economic and cultural turmoil are the impetus of each artist's works, creating unique dialogues in various mediums and styles, sparking conversations that seem inescapable.

Nancy Baker's works explode and swirl with objects of industry, as though an eruption has just occurred resulting in disjointed chaos. Baker's works include glitter and pop culture iconography as well as fetishized grenades. Full of angst and energy, Baker's work is anything but introverted.

Having grown up in what the artist describes as the sweatshops of the Los Angeles apparel industry; Carol Es' work evokes a dialogue between the overtly commercial and the deeply personal. Her textured works weave dysfunctional family values with industrial objects, accented by her inclusion of embroidery.

Bill Gusky projects TV cartoons from the 1960's and 1970's, reworks the images, re-appropriating these nostalgic objects to create a new dialogue or history, finding new meaning in the present. Commenting on the &quot;technology will save us&quot; mentality of that era, Gusky's work makes us wonder, in our present technological culture, what now?

Leslie Kneisel's otherworldly images move from past to present to future, taken of retro-looking rides in a visit to Disneyland. These alien-like images tempt us far away from everyday life, looking for an escape from reality.

Tim Ripley's icons are specific, particular and deftly painted. These isolated objects are oddly familiar, evoking the starkness of certain commercial advertisements.

In a nod to minimalism, Oriane Stender's painted dollar bills break down the complex. Her elegant works diverge from the explosive, the excess of consumerism, and meditate on the singular, pared down object; reminding us of the downsizing that many have had to accept.

[Images clockwise from top left: Nancy Baker, Bill Gusky, Oriane Stender, Carol Es, Leslie Kneisel, Tim Ripley]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1036-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1036-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1036-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/1756" href="http://www.nyartbeat.com/event/2012/1756">
  <Name>Fré Ilgen &quot;Shaping Presence&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/DA84F137">
    <Name>Sundaram Tagore Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., New York, NY 10001</Address>
    <Phone>212-677-4520</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Sundaram Tagore Gallery presents Shaping Presence, an exhibition of abstract metal and wood sculpture and works on paper by Berlin-based Dutch artist Fré Ilgen. 

Shaping Presence introduces the latest developments in Ilgen’s work, which are the result of the artist’s intense interest in the mechanics of the creative process. Ilgen has delved into the realm of neuroscience in order to learn more about creativity, in particular the conscious decision-making and the unconscious reflexes—motions learned by the body through long repetition—that form artistic expression.

With his sculpture, the artist aims to challenge viewers’ visual memory and encourage them to think about visual perception. Many of his sculptures are based on the complex movements of his own arms and hands that are part of the fabrication process. He uses concrete and wood in combination with stainless steel and industrial paint to create free-standing sculpture, wall constructions, and mobiles that vary in size from modest to monumental.

Working on paper is for Ilgen, as for many other artists, a useful method to prepare for working in other media. But for Ilgen, working on paper is also a type of physical training that prepares the body to respond by reflex when elaborating similar subjects in other media.

Fré Ilgen is a unique figure in the world of contemporary art. He is not only a sculptor and a painter, but also a theorist and curator. Ilgen lives and works in Berlin. His work is exhibited widely in the United States, Europe, South America, Russia, Asia, and Australia. He has created many site-specific pieces for private, corporate, and public collections in The Netherlands, Germany, Switzerland, Japan, Korea, and the United States. Ilgen’s work is in the collections of the Museum of Modern Art, Hünfeld, Germany; NOKIA, Dallas, Texas; and the Merzbacher Collection, Zug, Switzerland.

[Image: Fré Ilgen &quot;Nothing Changes, Everything Changes&quot; (2011) stainless steel, industrial paint, 82 1/4&quot;H x 68 1/2&quot;L x 55 1/2'W]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/1756-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1756-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/1756-170" width="170" />
  <Karma>1.48148</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750789</Latitude>
  <Longitude>-74.003658</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/17A3" href="http://www.nyartbeat.com/event/2012/17A3">
  <Name>&quot;Under the Influence: The Comics and Contemporary Art&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A6C9C115">
    <Name>Lehman College Art Gallery</Name>
    <Type>University or School</Type>
    <Address>250 Bedford Park Blvd. West, Bronx, NY 10468</Address>
    <Phone>718-960-8731</Phone>
    <Fax>718-960-6991</Fax>
    <Access>Lehman College campus.  Subway: 4 or D to Bedford Park Boulevard</Access>
    <Area areaId="harlem_bronx">Harlem, Bronx</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>16:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Under the Influence: The Comics and Contemporary Art will examine the work of approximately 25 artists indebted to the style and energy of comics imagery. The comics connote humor with the term &quot;funnies&quot; suggesting a lighthearted sensibility and playfulness with irony and satire also a part of the territory. But the comics often explore a more complex side of human existence - for Freud humor was a path to the unconscious. The exhibition will feature a range of media. There will be an online catalogue.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/17A3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/17A3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/17A3-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-07</DateStart>
  <DateEnd>2012-05-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>93</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.874925</Latitude>
  <Longitude>-73.892961</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/224A" href="http://www.nyartbeat.com/event/2012/224A">
  <Name>Brad Nelson &quot;Even Mountains Cast Shadows&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/61A8B8AA">
    <Name>frosch &amp; portmann</Name>
    <Type>Gallery</Type>
    <Address>53 Stanton St., New York, NY 10002</Address>
    <Phone>646-266-5994</Phone>
    <Fax></Fax>
    <Access>Between Forsyth and Eldridge Sts., Subway: F to 1st Avenue</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[frosch&amp;portmann presents “Even Mountains Cast Shadows”, Brad Nelson’s first solo exhibition in New York.

The invisibility and intangibility of faith and the reliance on language to convince someone to believe, instead of direct phenomenological observations, is a prevalent theme in Brad Nelson’s work. Having grown up in Kentucky, Nelson was surrounded by vocal religious convictions and absolute faith-based belief. His artwork creates a vivid visual language in the form of artificial landscapes and paintings of handwritten notes that hover close to nature and attempt to destruct or obscure the sense of what came before. As mountains and rock formations are very influential on the surrounding landscape, ideas and beliefs similarly loom over our contemporary environment.

Nelson moved to northern Arizona in 2008 and his experience in the southwest inspired him to use mountains as the conceptual platform for this show. While the mountains in Brad Nelson’s oils don’t exist in nature, they do exist as a physical manifestation before he paints them. He creates the model first in his studio as sculptures made from raw pigments using a variety of sculpting tools, such as rulers, razor blades, straws, and paper. The artist is using elements of the earth to create artificial constructions of natural landscapes.

During the opening reception of the exhibition, the artist will create a new work through a performance. Nelson will work publicly in the gallery in the same manner that he normally works in the privacy of his studio. He will sculpt a mountain still life, which will function as the origin of the image presented in the new painting. Nelson will then paint on a stage consisting of an unfinished stretched canvas representing an aerial view of the neighborhood where frosch&amp;portmann is located.

Viewers will have the opportunity to observe the original and the reproduction. Once the painting is finished the sculpture will be positioned behind the wall on which the finished painting will hang, so the original event will now be invisible. The reproduction will be the new authority in which faith will be placed and transmitted to the viewer.

Brad Nelson lives and works in Falmouth, Massachusetts. He received his B.A. from the University of Kentucky in Lexington, KY and his M.F.A. from the School of the Museum of Fine Arts, Boston/ Tufts University.

[Image: Brad Nelson &quot;EMCS #7&quot; oil on canvas 11 x 14 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/224A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/224A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/224A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721912</Latitude>
  <Longitude>-73.990496</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2597" href="http://www.nyartbeat.com/event/2012/2597">
  <Name>&quot;Unspecified Urban Site&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D8FB030C">
    <Name>RH Gallery</Name>
    <Type>Gallery</Type>
    <Address>137 Duane St., New York, NY 10013</Address>
    <Phone>646-703-4473</Phone>
    <Fax>646-349-3459</Fax>
    <Access>Between West Broadway and Church St. Subway: 1/2/3/C/E to Chambers Street</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Other</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The exhibition will feature recent painting, photography, and sculpture by a diverse group of contemporary artists including Mike Bayne, John Chamberlain, Andy Coolquitt, Zhang Dali, Richard Deacon, Paul Edmunds, Wolfgang Ellenrider, Tamar Ettun, Myeongsoo Kim, Roxy Paine, Gordon Stevenson, Tats Cru, Mee Wong, and Lin Zhipeng, whose works present visceral urban experiences through referencing the structures, objects and communication that signify urban space.

Zhang Dali and Tamar Ettun create interventions into the urban landscape through performative actions. Beginning in the 1990s, Zhang Dali spray-painted the profiles of anonymous heads on the walls of buildings in Beijing marked for
demolition, in response to the city’s rapid modernization. For Unspecified Urban Site, Zhang Dali presents Dialogue #73, a photograph documenting one such action. Tamar Ettun’s photographic work was initiated by the artist’s walking expedition from Jerusalem to Tel Aviv in which she conversed with the landscape and constructed narratives from its vestiges. Ettun will also be presenting a performance piece at the opening reception in conversation with her photographs. Both artists underscore a sense of urgency for dialog with their respective cities.

Mike Bayne, Wolfgang Ellenrieder, Lin Zhipeng and Myeongsoo Kim present documentation of urban landscapes. Bayne’s work Untitled (Downtown Owl) is part of an ongoing series of photorealistic paintings based on photographs of
downtown Toronto that depict what the artist calls “the banality of our daily routine”. Three recent paintings by Ellenrieder present urban moments removed from their original context. Feuer Reifen (Tires on Fire) is a response to the use and reuse of stock photography. The burning tires present an ambiguous narrative: they could be the result of a riot, an accident or a hate crime. Beijing-based Lin Zhipeng has been documenting Beijing’s youth culture over the past decade, a moment characterized by massive socio-economical shifts in the city. Kim’s sculptural installations displace elements of the city’s private and public spaces into dioramas. In his new work, Kim proposes dialogs between incongruous images and objects.

In selected work by John Chamberlain, Andy Coolquitt, Richard Deacon, Paul Edmunds and Roxy Paine the textures and materials of urban space are depicted, apart from the formal qualities of the urban landscape. Chamberlain’s Straits of
Muse is a chrome-plated bronze sculpture resembling a tree stump that has been transformed into a precious object. The sculptural practice of Coolquitt is based on an alternative architecture in which he creates installations and objects referencing quotidian experiences and encounters. Deacon’s No. 7 is a wall-mounted sculpture from a series of works completed in 1999 constructed from sheets of stainless steel. Although the material references the urban experience, the organic shape references the human body. Deacon calls himself a ‘fabricator’ rather than a sculptor; his work tends to expose his process. Edmunds’ abstract sculptures are often sourced from his native Cape Town. In Roll, Edmunds composed a sculpture derived from the forms of skateboard wheels rendered dysfunctional by transforming them from circular to hexagonal shapes. Scumak series is comprised of works fabricated by a sculpture-making machine created by Paine. The series raises questions about art production while also mirroring industrial production and relating to common urban materials such as tar.

Gordon Stevenson, Tats Cru and Mee Wong present yet another aspect of the urban landscape which that relates to the constructed imagery that exists on the streets. Tats Cru is an art collective that was founded in the eighties at the height of New York City’s subway graffiti movement. Hector ‘Nicer’ Nazario, Storero ‘Bg183’ and Wilfredo ‘Bio’ Feliciano are making a new work on canvas for the exhibition which relates to their renowned street art. Wong’s background as a commercial illustrator informs her painting practice which stylistically relates to contemporary advertising, and in particular the
commodification of women. Until The Morning Comes depicts three women clad in glittered undergarments lying suggestively around Philippe Starck’s iconic gun lamp.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2597-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2597-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2597-170" width="170" />
  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-03-02</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>22</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.71639</Latitude>
  <Longitude>-74.007604</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2700" href="http://www.nyartbeat.com/event/2012/2700">
  <Name>Ai Weiwei, Wang Xingwei, Ding Yi &quot;Persona 3&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/951E6DE5">
    <Name>Chambers Fine Art</Name>
    <Type>Gallery</Type>
    <Address>522 W 19th St., New York, NY 10011 </Address>
    <Phone>212-414-1169</Phone>
    <Fax>212-414-1169</Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E and L to 14th Street/ 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Chambers Fine Art presents Persona 3, a cooperative work by Ai Weiwei, Wang Xingwei and Ding Yi. First exhibited in Beijing in 2004, Persona 3 is an audacious experiment in which the three artists agreed temporarily to exchange artistic profiles in a demonstration of their mutual admiration for the Chinese art scholar Hans van Dijk who had died in 2002. Resident in China since 1986, van Dijk was actively involved in the documentation and promotion of contemporary Chinese art at a particularly important time in its development.

As described by Britta Erickson: “Mature artists with widely recognized signature styles, Ai Weiwei, Ding Yi, and Wang Xingwei resolved to turn the iconic nature of each unique body of work on its head. Each artist would produce works of art to be exhibited as the creations of the others. This exercise required serious stretching of both artistic imagination and technical skills, and it was brought off with great aplomb….. Each artist worked in great secrecy, revealing the works to one another only immediately prior to the installation of the exhibition. It was a challenge among the three artists, to fathom the depths of each other’s artistic approach, and then to capture that spirit in concrete form.”

For this exercise, Ai Weiwei produced Appearance of Crosses, a sculptural form in iron that is derived from Ding Yi’s series of paintings Series of Crosses on which he had been working since 1988. One of the very few abstract painters to have emerged with the remarkable growth of contemporary Chinese art in the 1990s, Ding Yi narrowed the focus of his investigations to the repetition of cross forms in endless variations and on a wide variety of supports including ready-made fabrics such as tartans. In deciding to perforate a sheet of iron with rows of crosses, Ai Weiwei produced a sculpture of the type that Ding Yi might have produced if he had ever decided to work in three dimensions.

Known for his ironic use of a naturalistic painting style to comment on a wide variety of social and cultural issues, Wang Xingwei chose to channel Ai Weiwei in his Long Ring Tea-Table, a rosewood painting table reconfigured as a round tea-table. Unlike Ai Weiwei who uses furniture and architectural members surviving from the Ching dynasty and later in his ongoing series of three-dimensional works in wood, Wang Xingwei designed a circular table that does not resemble earlier forms and the Shanghai-based carpenters who executed it used new wood.

For Morning in Shanghai, painted in oil on corrugated board in the style of Wang Xingwei, Ding Yi reverted to the representational style that he had abandoned with the emergence of his signature abstract style in 1988. As in his own works which are frequently characterized by their composite nature, Ding Yi juxtaposes four sections of board in his dramatic Shanghai cityscape in which the celebrated buildings on the Bund are dwarfed by new developments in Pudong.

Enriching the artistic dialog between these three old friends in their hybrid creations will be works by Wang Xingwei and Ding Yi on loan from the Uli Sigg collection as well as by Ai Weiwei in which the artists speak in their own voices.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2700-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2700-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2700-170" width="170" />
  <Karma>2.53472</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745361</Latitude>
  <Longitude>-74.006631</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2C9B" href="http://www.nyartbeat.com/event/2012/2C9B">
  <Name>Charles Lutz &quot;ReMake/Re-Model&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/0213BC1F">
    <Name>Hionas Gallery</Name>
    <Type>Gallery</Type>
    <Address>89 Franklin St., New York, NY 10013</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Church St and Broadway. Subway: 1 to Franklin Street or N/Q/R/W/4/6 to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>09:00:00</OpeningHour>
    <ClosingHour>14:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Hionas Gallery presents ReMake/Re-Model, a solo exhibition of new works by Charles Lutz comprised of a selection of the artist’s signature Post-Pop paintings and sculpture, from his Equivocal Voids and High Life series’.

Lutz’s wandering eye is keen to the satirical, the sexual and the absurd, found in objects both mundane and iconic, from Warhol’s appropriated Brillo boxes, re-appropriated by Lutz for a somber result in cold black stainless steel, to Franz Kline’s fluid action brushstrokes, re-made to reveal disparate body parts lustfully intertwined. With each work, Lutz begins and ends with a simple premise: to extract from a particular source only its most vital information, and with that information find some new way to communicate. For much of his source material Lutz takes familiar symbols and brand names one might find in a magazine or on a billboard, and given the solarized, monochromatic effect that’s inherent in much of Lutz’s work, what he chooses to extract can appear to some a harsh, if not apathetic commentary on the very imagery and iconography that feeds off our minds and wallets.

“I like to think this work reveals a sober and real portrait of us as a culture,” says Lutz, “one that is constantly shifting yet has remained largely unchanged.” Indeed, the unambiguous origins of this body of work may inspire some to recall readymades or the cold steel constructions of the early Minimalists. Whatever one’s perspective, the originality, or lack thereof, of abstraction, Pop and other artistic modes is brought into question here, and becomes the crux of Re-Make/Re-Model. By synthesizing what is consumable 
and what has, in a sense, already been consumed, Lutz’s work evokes a false déjà vu, wherein we recognize the objects at hand, but clearly we have not witnessed these very things before.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2C9B-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/2C9B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.717958</Latitude>
  <Longitude>-74.004992</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/2DAB" href="http://www.nyartbeat.com/event/2012/2DAB">
  <Name>&quot;A Survey&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F992D72">
    <Name>Edward Thorp Gallery</Name>
    <Type>Gallery</Type>
    <Address>210 11th Ave., 6 Fl., New York, NY 10001</Address>
    <Phone>212-691-6565</Phone>
    <Fax></Fax>
    <Access>Between 24th and 25th St. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Illustration</Media>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[This survey will encompass a wide variety of mediums from ink on illustration board to mixed media multi-panel works, large-scale oil on canvas paintings to mechanical sculpture in steel and tin.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/2DAB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2DAB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/2DAB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749922</Latitude>
  <Longitude>-74.005956</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/31C5" href="http://www.nyartbeat.com/event/2012/31C5">
  <Name>&quot;You never look at me from the place from which I see you&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D5D33496">
    <Name>SculptureCenter</Name>
    <Type>Event Space</Type>
    <Address>44-19 Purves St., Long Island City, NY, 11101</Address>
    <Phone>718-361-1750</Phone>
    <Fax>718-786-9336</Fax>
    <Access>Corner of Jackson Ave.  Subway: E/V to 23rd Street/Ely Avenue, G to Court Square, 7 to 45th Road/ Court Square</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[SculptureCenter presents the In Practice program exhibition You never look at me from the place from which I see you. Featuring works by A.K. Burns, Yve Laris Cohen, Michael DeLucia, Aleksandra Domanović, Takashi Horisaki, Sean Raspet, Christine Rebet, and Keith Connolly, Ethan Ham, and Tom Thayer, the exhibition is curated by Kristen Chappa, SculptureCenter's Curatorial Associate.

You never look at me from the place from which I see you is organized around investigations into vision and location within our present moment, characterized by dispersed attention and spatial deterritorialization. In this current era of technological, cultural, and geopolitical exchange, what constitutes a site is more in flux than ever before, and the act of looking has perhaps never been more fragmented. This constellation of artists engages with scattered states that are prismatic and overwhelmed as a contextual given and an appropriate lens through which to consider contemporary relationships, interactions, and identities, and a means to arrive at revised notions of sculptural phenomenology.

SculptureCenter's In Practice program supports the creation and presentation of new work by emerging artists and reflects diverse approaches to contemporary sculpture. Artists are selected through a call for proposals and are provided with an honorarium, production budget, fabrication and installation assistance, as well as invaluable curatorial and administrative support. This year SculptureCenter received over 850 applications from artists worldwide. 

Artist Biographies: 
Aleksandra Domanović is a multimedia artist from the former Yugoslavia currently working in Berlin. Her art is informed by archival models and her observation of collective history and shared memories. Most of her works are derived from online sources and inflected by her transnational experience living in Serbia, Slovenia, Japan, Austria, and Germany. She has recently completed residencies at Tobacna 001 (Ljubljana), Western Front (Vancouver), and is currently in residence at Kunstlerhaus Bethanien. 

A.K. Burns is a New York-based interdisciplinary artist whose practice encompasses sculpture, video, collage, and social performances. Her work is engaged with queer and feminist politics exploring such themes as fetish, power relations, assimilation, and separatism. Burns received a BFA from RISD and an MFA from Bard College. She is a founding member of W.A.G.E. (Working Artists and the Greater Economy), and co-editor of RANDY, an annual trans-feminist arts magazine. 

Yve Laris Cohen recently received his MFA from Columbia, and is currently a resident at Movement Research in New York. Cohen is an interdisciplinary artist, whose performances and sculptures address shifting subjectivities and power relationships among human bodies and objects. Influenced by the Judson Theater and his training as a classical ballet dancer, Cohen's dance pieces explore ballet as a form of manual labor rather than an elite spectacle. 

Michael DeLucia received his MFA from the Royal College of Art, London, and a BFA from RISD. His current artistic practice comprises relief panels, sculptures, and drawings modeled with 3D CAD software. These objects, digitally designed and mechanically painted with geometric patterns in industrial hues, reevaluate sculptural phenomenology. He has recently exhibited at Eleven Rivington (New York) and Luce Gallery (Torino). 

In his sculptures, performances, and community-based, socially engaged projects, Japanese-born and New York-based artist Takashi Horisaki investigates subjects ranging from urban development and social architectures, to political and environmental crises, to the intertwined nature of virtual and physical experiences. Relating landscape to the preserved surfaces of the built environment, Horisaki seeks an awareness of the ephemerality of our constructions and their incorporation within systems of the natural world. He has previously exhibited at Socrates Sculpture Park and ABC No Rio. 

Sean Raspet's work focuses on circularities of time and logic that operate across multiple spheres of everyday life. Most of his projects explore late-capitalist culture, and are composed of fragmented, rearranged, and repeated images and reflections of banal spaces. He is currently pursuing an MFA at UCLA. Raspet's past solo exhibitions include Societe (Berlin), The Kitchen (New York), and Daniel Reich Gallery (New York). 

Christine Rebet is a French artist living in New York, whose practice combines drawing, film, sculpture, and performance. In her brand of social critique, Rebet addresses the traumas of personal and collective histories; she comments on spectacle, spectatorship, and the intersection of public and private spheres. Rebet completed an MFA at Columbia in 2011. She is also a recent recipient of the Lotos Foundation Prize in the Arts and Sciences. 

The Spaniard and the Hudson Eel will be the first artistic collaboration by Keith Connolly, Ethan Ham, and Tom Thayer. Keith Connolly is a founding member of The No-Neck Blues Band (NNCK), a seven piece improvised music collective based in New York for the past 15 years. Ethan Ham is a visual artist and former game developer teaching new media at the City College of New York. Tom Thayer is a visual artist currently working in New York City; he has most recently exhibited at The Kitchen. 

[Image: Christine Rebet &quot;Instruction Manual for Civilian Resistance (detail)&quot; (2011-2012) Courtesy the artist.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/31C5-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/31C5-170" width="170" />
  <Karma>0.667255</Karma>
  <Price free="0">Suggested donation: $5</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-03-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-15" start="17:00:00" end="19:00:00">Opening Reception</Party>
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 </Event>

 <Event xml:lang="en" id="2012/320E" href="http://www.nyartbeat.com/event/2012/320E">
  <Name>&quot;BRIGHT LIGHTS, BIG LOVE&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/4B957CD4">
    <Name>Underline Gallery</Name>
    <Type>Gallery</Type>
    <Address>238 W 14th St., New York, NY 10011</Address>
    <Phone>212-242-2427</Phone>
    <Fax></Fax>
    <Access>Between 7th and 8th Aves. Subway: A/C/E and L to 8th Avenue / 14th Street or 1/2/3 to 7th Avenue/14th Street.</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[BRIGHT LIGHTS, BIG LOVE, a group show exploring the subject of relationships through the formal properties of light and color, spotlights a variety of mediums – from light installations and sculpture to painting and photography. Through these ephemeral, subjective media, the works demonstrate, question, and complicate the fragility and uncertainty of intimacy against the backdrop of some of the coldest months of the year.

The underpinning narrative of the collection speaks to the creation and destruction of relationships. The curators at Underline have managed to cull alluring, new works that address a particularly relevant theme in the coldest months: The seasonal nature of love.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/320E-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/320E-170" width="170" />
  <Karma>1.21241</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:30:00" end="20:30:00">Opening Reception</Party>
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 <Event xml:lang="en" id="2012/32A0" href="http://www.nyartbeat.com/event/2012/32A0">
  <Name>Guðmundur Thoroddsen &quot;Father's Fathers&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/C7B8D22C">
    <Name>Asya Geisberg Gallery</Name>
    <Type>Gallery</Type>
    <Address>537B W 23rd St., New York, NY 10011</Address>
    <Phone>212-675-7525</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave.  Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_23">Chelsea 23rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Asya Geisberg Gallery presents &quot;Father's Fathers&quot;, the first New York solo exhibition of wood sculpture and works on paper by Icelandic artist Guðmundur Thoroddsen. With a chainsaw and crude hand axe, Thoroddsen crafts bearded heads, sometimes with absurdly geometric hirsuteness. Abstracted amalgamations of Sumerian or Viking gods, the heads are hapless, passive, even useless anachronistic deities, forming a pantheon of false idols.  

Including a bust of his father, an impish self-portrait, and ruminative ink drawings, Thoroddsen's work hosts a variety of questions about our reliance on masculine ideals and our often unquestioned expectations of leaders.  Have we outgrown our need for patriarchs, omnipotent gods, or feared autocratic strongmen? With Qaddafi and Mubarak dismissed and Putin's support cracking, young generations search for a new vision of leadership. With Kim Jong-Il referred to as &quot;our Father&quot;, can gender finally achieve equality and equanimity, while our cultural prototypes remain embedded in our collective psyche? Even within Scandinavia's contemporary progressivism, Thoroddsen sees strict dichotomies carved into each sector of life: within familial, economic or social roles.

Trained as a painter, Thoroddsen began working with wood as a personal exploration of masculinity. The roughly chopped and cracked surface suggests that taking up woodcarving was an attempt at being a &quot;manly man&quot;, a wistful evocation of a brawny woodsman. After the death of his authoritarian father, the artist came to question his own relationship to manliness, and saw everywhere the same focus on patriarchal ideals. By creating a smaller-than-life bust, he literally cut his father down to size.  Seeking broader universal symbols, Thoroddsen began to chart aesthetic representations in Greek, Near-eastern and Norse mythology, culminating in carved heads that smirked at their historic antecedents.

In drawings and sculptures of god-figures urinating, squatting, or made out of horse excrement, Thoroddsen is like a little boy doodling and defacing sacred symbols. He exposes the gods at their most vulnerable and undignified, kicking them off their pedestals. They instantly seem comical, and sacrilegiously profane. Outlined explicitly but watery within and at times cartoonish, the ink drawings have an ease that belies their maker's seriousness. As Thoroddsen says in an imaginary conversation with his patriarchs: &quot;Look, you've had your time. Some of it was good, some bad, it was all pretty unjust and now it's time for something else. We will give you a nice goodbye party.&quot;

Born in Iceland, Guðmundur Thoroddsen studied at the Kunsthochschule Berlin, the Iceland Academy of Arts, and received his MFA from SVA in New York. Currently based in Reykjavik, Thoroddsen has been included in numerous exhibitions in New York, Reykjavik, Stockholm, Berlin, and Helsinki, including &quot;This is Then&quot; at DODGE Gallery (2011), &quot;Fragmentation&quot; curated by Dan Cameron (2011), and &quot;Colorsynthesis&quot; at the Reykjavik Art Museum (2010). His work appears in &quot;Icelandic Art History from late 19th Century to Early 21st Century&quot; (2011), as well as the New Museum's &quot;Younger Than Jesus: Artist Directory&quot; (2009). He is the recipient of a 2011 Icelandic Arts Center grant.]]></Description>
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  <Image src="http://www.nyartbeat.com/media/event/2012/32A0-170" width="170" />
  <Karma>2.29965</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote>Artist talk: Saturday January 14th, 1 PM</ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/3515" href="http://www.nyartbeat.com/event/2012/3515">
  <Name>Ragnar Naess &quot;Green Men, Botanicals +&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/319426A8">
    <Name>Atlantic Gallery</Name>
    <Type>Gallery</Type>
    <Address>135 W 29th St., Suite 601,  New York, NY 10001</Address>
    <Phone>212-219-3183</Phone>
    <Fax></Fax>
    <Access>Between 6th and 7th Ave. Subway: N/R to 28th Street, 1/2/3 to 34th Street or F to 34th Street</Access>
    <Area areaId="chelsea_east">East Chelsea</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
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  <Media>3D: Sculpture</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3515-30" width="30" />
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-31" start="17:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>15</DaysBeforeEnd>
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 <Event xml:lang="en" id="2012/3637" href="http://www.nyartbeat.com/event/2012/3637">
  <Name>&quot;St. Sebastian: 1530 to 2011&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/142980FE">
    <Name>Edelman Arts</Name>
    <Type>Gallery</Type>
    <Address>136 E 74th St., New York, NY 10021</Address>
    <Phone>212-472-7770</Phone>
    <Fax>212-472-7709</Fax>
    <Access>Between Lexington and Park Ave. Subway: 6 to 77th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Cutting edge artists juxtapose renown sixteenth century Titian masterpiece in Edelman Arts' provocative exhibition St. Sebastian 1530 – 2011.

This inspiring exhibition explores a fresh perspective of St. Sebastian from the Renaissance to the present. St. Sebastian, the universal icon and figure, came into prominence as a visual canon in the early Renaissance as the bound, sensuously semi-nude figure impaled with Roman arrows. This exhibition is anchored by Titian’s portrait from c. 1530, a striking illustration of the artist’s virtuosic abilities to work with light and color to infuse St. Sebastian with life and emotion. In direct view of Titian’s masterpiece are contemporary depictions of St. Sebastian by Doug Argue, Red Grooms, Carlos Betancourt, Eric Rhein, Marcia Grostein, Cynthia Karalla, Cathy McClure, Michael Murphy and Christopher Winter.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3637-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/3637-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/372F" href="http://www.nyartbeat.com/event/2012/372F">
  <Name>&quot;Beauty in All Things: Japanese Art and Design&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EB18574C">
    <Name>Museum of Arts &amp; Design</Name>
    <Type>Museum</Type>
    <Address>2 Columbus Circle, New York, NY 10019</Address>
    <Phone>212-299-7777</Phone>
    <Fax></Fax>
    <Access>At 58th St. and 8th Ave.  Subway: B/C/D to 59th Street/Columbus Circle</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>thursdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>In the Summer opened on Tuesdays.  Check with the venue for details.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[In Japan, beauty can be found in objects from the most refined to the most humble, often with standards very different from those in the Western world. Drawn largely from the MAD collection, &quot;Beauty in All Things&quot; features contemporary Japanese artists and designers who create innovative works within these ideals of beauty. Some push traditional techniques and materials in new directions, and others experiment with new technologies and materials within the context of historical practice.   In this exhibition, specific works are highlighted that exemplify Japanese concepts of beauty, including shizen, wabi sabi, and datsuzoku.   The term shizen implies a reverence for the beauty found in nature, a recurring theme in Japanese art.

[Image: Kyohei Fujita &quot;Untitled (Box)&quot; (1995) glass, silver, gold leaf, silver leaf 5.5 x 4.75 x 4.75 in.]]]></Description>
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  <Karma>0</Karma>
  <Price free="0">Adults $15, Students and Seniors $12, Members and Children under 12 Free, Thursdays 6 - 9pm Pay What You Wish</Price>
  <DateStart>2011-11-22</DateStart>
  <DateEnd>2012-06-03</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>115</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767589</Latitude>
  <Longitude>-73.982067</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3B6B" href="http://www.nyartbeat.com/event/2012/3B6B">
  <Name>&quot;Notations: Cage Effect Today&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/C3ACA17C">
    <Name>Hunter College Times Square Gallery</Name>
    <Type>University or School</Type>
    <Address>450 W 41st St., New York, NY 10036</Address>
    <Phone>212-772-4991</Phone>
    <Fax></Fax>
    <Access>Between 9th and 10th Ave. Subway: A/C/E at 42nd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[Notations: The Cage Effect aims to serve as a timely platform upon the centennial of John Cage's birth. The exhibition will examine his diverse and widespread influence throughout America, Asia, Europe and Latin America not only through the artists directly following Cage but also those in successive generations to the present. By taking a chronological and geographic survey it may be possible to elucidate why Cage has been hailed as an “authorizing factor” and how his influence is manifest to such a widespread and significant degree.  The exhibition will include some 30 artists including William Anastasi, Ushio Shinohara, Rivane Neuenschwander, Kaz Oshiro and Fred Sandback among many others, and will be supplemented by a full schedule of inter-disciplinary public programming. The exhibition will also be accompanied by a comprehensive exhibition catalogue with essays by Dr. Pissarro, Julio Grinblatt and Bibi Caldero, and contributions by participating graduate students at Hunter College. ]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
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  <Image src="http://www.nyartbeat.com/resources/images/nopic_170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-04-21</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>72</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.758522</Latitude>
  <Longitude>-73.994881</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3C86" href="http://www.nyartbeat.com/event/2012/3C86">
  <Name>Spanky and Nina &quot;Drawings and Sculpture&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/65C2AC68">
    <Name>Fuse Gallery</Name>
    <Type>Gallery</Type>
    <Address>93 2nd Ave., New York, NY 10003</Address>
    <Phone>212-777-7988</Phone>
    <Fax></Fax>
    <Access>Between 5th and 6th St. Subway: F to 2nd Avenue</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>15:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Hailing from different cultural and artistic backgrounds, artists Kevin “Spanky” Long and Nina Milner examine 
their diverse creative origins through a practice of visual dialogue. While both artists make occasional appearances 
in one another's independent work, a collaborative component steers Long and Milner on a more abstract track as 
they work in response to and in support of one another's creative instincts.

Long's preoccupation with the animal kingdom actualizes in stream of consciousness illustrations of imagined 
creatures. To further their fantastical nature, Long works with brush and ink to categorize the critters that populate 
his unconscious. Being from another country, Milner investigates notions of vulnerability and personal identity. 
Working figuratively with paper in the forms of sculpture and negative paper cut outs, Milner balances her 
predisposed tendency for intricacy with a new found surrender to the unanticipated. 

Southern California born Kevin &quot;Spanky&quot; Long, who's primary career for the last decade has been that of a 
professional skateboarder, has been in numerous group shows, including the touring exhibition “Draw”. He is 
a member of the Now I Remember collective who have shown both nationally and internationally. Other artistic 
endeavors include graphic work for RVCA and Baker Skateboards. 
 
Nina Milner, born and raised in South Africa, came to America almost two years ago anticipating only a 
month's stay. In South Africa, she worked on kinetic resin sculpture, and architectural installation projects. 
En route to the US, in 2010, she erected a large scale cotton installation for a group show in a gallery on the 
duomo of Parma, Italy. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3C86-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/3C86-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-02-15</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-18" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>6</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.727129</Latitude>
  <Longitude>-73.988937</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/3F2F" href="http://www.nyartbeat.com/event/2012/3F2F">
  <Name>&quot;Sutured&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F6DF077">
    <Name>Like the Spice</Name>
    <Type>Gallery</Type>
    <Address>224 Roebling St., Brooklyn, NY 11211</Address>
    <Phone>718-388-5388</Phone>
    <Fax></Fax>
    <Access>Between S 2nd and S 3rd St. Subway: L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Monday: By Appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Fabric cannot be disassociated from both its practicalities and its histories. It can be soft or course, rigid or supple, and its linkages to gender and status are unshakable. While the smallest fiber can evoke notions of femininity, touch itself is the first sense we gain in our mothers’ wombs. In “Suture,” Like the Spice presents seven artists whose work bears, and yet also exploits, the cultural norms associated with textiles and other craft materials.

Since the 1970’s the media of everyday objects have become more and more pervasive in fine art, but craft is still distinguished from sculpture and painting as art with a utilitarian purpose. For the artists in this show, both quotidian and concept can become query as they incorporate discourses of high versus low art? in acts of subversion and aesthetic playfulness.

Perhaps the artist in “Sutured” to use the methodology of fiber arts most frankly, Richard Saja’s embroidered human-animal hybrids, clowns, and fantastical beasts defy the strict delineations in the strata of art historical context. His brilliantly rendered characters upend the decorum of the centuries’ old prints of toile fabric, a textile common in drapery and upholstery. The monochromatic swooning farmers and ornate foliage in the toile are the templates for his sardonically humorous re-narrations.

Joseph Heidecker also offers interruptions of sentimentality by effacing, embossing, and sewing into vintage statuettes acquired at estate auctions and various flee markets .  His additions are less synthesis than synaesthetic as he threads beads and glues googly eyes and other items from your kindergarten’s craft drawer to his found objects.

Jude Broughan’s raw patchworks of original and re-photographed images sewn to fragments of leather and plastic are at the same time personal and disconcerting. The stitched juxtapositions represent past and present, but they are less narrative than the symbiosis of memory and experience that creates one’s sense of self and home.

Abstraction confronts formalism and a celebration of the decorative ensues in Robert Raphael’s sculptures of wood, ceramic, and satin ribbon. His stark wooden posts hint at minimalism and embracing architecture, while he adorns them with collapsed stacks of glazed ceramic geometric figures and the occasional dollop of thick paint.

With Vadis Turner, abstraction and tradition collide in wall-hung works comprised of satin affixed to square canvases. She assembles her delicate media in bit-by-bit renderings of smoke and mold that seem to test the idea of modern painting. Her materials are heavily laden with symbolism, but she is aware of its associations. Deep in these variegated folds of color is the history of the feminine, yet the works don’t betray their formal qualities as paintings.

Adam Parker Smith’s monumental collage comprised of thousands of  hand-woven friendship bracelets fashioned to spell out “will u marry me” is a tapestry of the tragic. What could be a sublime gesture reveals itself as an assumed moment, implied by Smith to elicit our involvement. What we are left with as viewers is the dare to leave our sentimentality at the door to view the meaning of the work change as it hangs on the gallery walls for three weeks.

Zoe Sheehan Saldana creates uncanny duplications of store-bought objects, photographs them, and then returns them to the same rack or shelf of the original item. In the gallery she offers a glimpse of her travails in a full-scale photograph hung next to the original item. The clash of machine and man-made means of production foregrounds craft as a high-art concept and unsettles contemporary notions of value and utility.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/3F2F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3F2F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/3F2F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:30:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.711875</Latitude>
  <Longitude>-73.959261</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/412A" href="http://www.nyartbeat.com/event/2012/412A">
  <Name>&quot;Heads&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CA84DB52">
    <Name>Lori Bookstein Fine Art</Name>
    <Type>Gallery</Type>
    <Address>138 10th Ave., New York, NY 10011 </Address>
    <Phone>212-750-0949</Phone>
    <Fax>212-750-0947</Fax>
    <Access>Between 18th and 19th Sts.  Subway: L or A/C/E to 14th Street/ 8th Avenue </Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[group show]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/412A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/412A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/412A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-31" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744903</Latitude>
  <Longitude>-74.005998</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/44F9" href="http://www.nyartbeat.com/event/2012/44F9">
  <Name>Ben Bunch “Twenty-First Century Freemasonry”</Name>
  <Venue href="http://www.nyartbeat.com/venue/51CC2124">
    <Name>The Proposition</Name>
    <Type>Gallery</Type>
    <Address>2 Extra Place, New York, NY 10003</Address>
    <Phone>212-242-0035</Phone>
    <Fax>212-242-0203</Fax>
    <Access>Between Bowery and 2nd Ave. Subway: F to 2nd Avenue.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The Proposition presents “Twenty-First Century Freemasonry,” a show of new works by Ben Bunch. This is his second solo show with the gallery.

Ben Bunch makes carefully handcrafted sculptures from light weight craft materials such as foam, paper and glue. These sculptures often reference real hardware and technological objects while employing the abstract languages of painting and drawing at the same time. Their surfaces vary from meticulously manicured to slapdash and gestural. His sculptures often have an invisible centrifugal and centripetal energy whether the parts swirl locked in a unifying shape, or leak through the implied boundaries and seams.

In regards to the imagery and the process Bunch says, “The works often reference technology but they are not about technology. Rather they are about the energy and focus that is concentrated in the gesture of building them up. The imagery of the pieces is more a vessel to carry a mood about these frozen and isolated objects. I want them to feel akin to idols or cult-like objects emanating an uneasy power of the inanimate.”

As highlighted by the title of the show, Freemasonry is a touchstone for this idea of power and mystery in the construction of things. In the culture of Freemasonry, simple shapes and symbols are the building blocks of the world and the code by which Masons identify each other. Their core narrative is about making order out of chaos. Bunch uses the familiar objects and codes available in the twenty-first century to create possible narratives and artificial systems for his audience. Imitating the Masonic impulse to influence and shape their environment, Bunch first creates the random chaos in his sculptures and then tames it in a convergence of anarchy and control.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/44F9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/44F9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/44F9-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-21</DateStart>
  <DateEnd>2012-02-26</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-21" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>17</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.724639</Latitude>
  <Longitude>-73.991561</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4572" href="http://www.nyartbeat.com/event/2012/4572">
  <Name>&quot;Marble Sculpture from 350 B.C. to Last Week&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/7D8487D4">
    <Name>Sperone Westwater</Name>
    <Type>Gallery</Type>
    <Address>257 Bowery  New York, NY 10002</Address>
    <Phone>212-999-7337</Phone>
    <Fax>212-999-7338</Fax>
    <Access>Between Houston and Stanton St. Subway: F/V to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Sperone Westwater is pleased to present an exhibition of white marble sculptures dating from 350 B.C. to the present day. This survey includes Greek and Roman antiquities, Neoclassical sculptures, and works by modern and contemporary European and American artists.
 
Marble is one of the oldest and most fundamental materials of sculpture with wide-ranging use in the fine arts, decorative arts, and architecture. Among the works from Greek and Roman antiquity in Marble Sculpture from 350 B.C. to Last Week is an Ionian Greek grave relief from the second half of the fourth century B.C. that depicts three figures presenting a narrative on a farewell to the deceased. A Vestal statue from the second century A.D. represents the virgin goddess of hearth, home, and family in Roman religion. Notable Roman sculptures from the first and second century A.D. are also presented including a vase and a bust of young man. Significant sculptures from the fifteenth to nineteenth centuries include Icarus, the mythological figure of a man with wings, by Tommaso Bonazza (Venice 1696 – Padua 1775), as well as Hercules by Giacomo Cassetti Marinali (Venice 1682 – Vicenza 1757), carved out of pietra di Vicenza, to name a couple.
 
The modern and contemporary works in Marble Sculpture provide a different context for the ancient material. Pioneer of the Dada movement, Jean Arp created Mediterranean Sculpture I (Orphic Dream), 1941, a biomorphic sculpture that has rounded and angular edges, encompassing the artist’s desire to conflate nature’s different forms. Richard Long’s Heaven (Portrait of Carl Andre), 2011, consists of six rows of large marble blocks. Infinite, 2011, by Fabio Viale, depicts two interlocked tires carved out of marble. Not Vital’s ½ Man ½ Animal, 1996, is an eleven-foot tall anthropomorphic sculpture that resembles a mythical creature. An installation of five slabs, Ai Weiwei’s Marble Door(s), 2007, depicts a barricade of white and grey doors. Bertozzi &amp; Casoni’s Gorilbattista, 2011, is a vanitas sculpture of a gorilla head on a plate. Tom Sachs’s Brute, 2009/2010, transforms an ordinary lightweight object to the extraordinary through the medium of marble. In Purity, 2008-2011, Barry X Ball reinvigorates the age-old tradition of figurative marble sculpture through the use of unconventional stones and methods.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4572-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4572-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4572-170" width="170" />
  <Karma>3.65</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.723239</Latitude>
  <Longitude>-73.992725</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4D83" href="http://www.nyartbeat.com/event/2012/4D83">
  <Name>Jason Fox &quot;Eating Symbols&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BBB4D093">
    <Name>Peter Blum Gallery (Chelsea)</Name>
    <Type>Gallery</Type>
    <Address>526 W 29th St., New York, NY 10001</Address>
    <Phone>212-244-6055</Phone>
    <Fax>212-244 6054</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to Penn Station 34th Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Summer Hours (July 8 - August 1): Monday - Friday, 10 am-6 pm. Closed August 2-25.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Peter Blum presents the exhibition Jason Fox: Eating Symbols. This will be Jason Fox’s second solo exhibition with the gallery.
 
For this exhibition, Jason Fox will present paintings, drawings, and a sculpture that bridge together previous bodies of work. As suggested by the exhibition title, Fox plays with a wide range of influences from Abstract Expressionism via the celebrity portraits of Warhol to Cave painting born from A.R. Penck’s timeless alphabet. The paintings create a dialogue between pop culture, religious icons, and abstraction. All the work shares an interest in transparency, and symbols caught in various states of transformation between abstraction and figuration.

          The paintings can be loosely grouped into three series. In the first layers of water saturated color and pencil form portraits including Beatles, Saints, and false idols. The red paintings layer expressionistic observed portraits of the family dog with pencil messages from the outside world. The third group of paintings deploys a Malevich tilt to create a series consisting of flags, monuments, mountains, lakes, and views from a tomb.

          The drawings provide both an editorial conscience nostalgic of old New Yorker cartoons and Olyphant and reveal experiments with psychedelia and popish expressionistic portraiture that clearly bleed into the works on canvas. The idea of layering images based on familiarity rather than discordance is first articulated in the drawings where trees meet aliens and dungeons are galleries.

One sculpture made of a carved tree, drop cloth plastic, and a metal base stands alone. …part stick figure, part cross, part scarecrow for an interzone filled with aluminum foil posing as lightning, Ringo visiting Picasso, and color dissolving ideologies.

 
Jason Fox was born in 1964 in Yonkers, New York. He currently lives and works in Poughkeepsie, New York. Fox received a B.F.A. from Cooper Union, New York and a M.F.A from Columbia University, New York. National and international solo exhibitions include shows at Feature Inc., New York; Mario Diacono at Ars Libri, Boston; Greener Pastures Contemporary Art, Toronto, Canada; and at the Museo de Arte Carillo Gil, Mexico City. Past group shows include Every Revolution is a Roll of Dice organized by Bob Nickas at Paula Cooper Gallery and at the Ballroom Marfa, Texas; That is Then…This is Now and Greater New York at P.S.1, New York; and Drunk vs. Stoned at Gavin Brown’s Enterprise.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4D83-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D83-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D83-170" width="170" />
  <Karma>2.25309</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751758</Latitude>
  <Longitude>-74.002208</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4D8E" href="http://www.nyartbeat.com/event/2012/4D8E">
  <Name>Zefrey Throwell &quot;Ocularpation: Wall Street&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D205C3AE">
    <Name>Gasser Grunert Gallery</Name>
    <Type>Gallery</Type>
    <Address>524 W 19th St., New York, NY 10011</Address>
    <Phone>212-807-9494 </Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E/L to 14th Street or C/E to 23rd Street</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Klemens Gasser &amp; Tanja Grunert presents the exhibition Ocularpation: Wall Street by Zefrey Throwell, from January 6-February 11, 2012, featuring photographs, paintings, video, and sculpture. The exhibition centers around a large-scale continuous video projection of Ocularpation: Wall Street, created on August 1, 2011, in which 50 performers directed by Zefrey Throwell, gathered outdoors on Wall Street, stripped down to nothing, and began working in a call for transparency that caught fire and spread across the globe.

The experience and documentation of Ocularpation informs the varied works in the exhibition. A series of oil paintings, using signature Wall Street blue trader jackets sewn together as the canvas, are collaged with photographs of the performances. Fifty sculptures of everyday objects, relating to the Wall Street professions (i.e. broom—janitorial, handcuffs—police, piggybank— banker, etc.), have been coated with a thin veneer of gold enamel, thereby transforming them into precious artworks. Zefrey, who used nudity so powerfully as a symbol of exposure and transparency in the Ocularpation performance and the recent strip poker game I’ll Raise you One… at Art in General, uses gold in this body of work in reference to the current American financial dream, sold as a glittering jewel, but in fact is a fantasy whose value is speculation.

Ocularpation: Wall Street continues Zefrey Throwell’s extensive body of investigative and interactive projects focused on the connecting points and underpinnings of social discourse. Projects shown at the MoMA, Whitney Museum, Performa, and Venice Biennials, as well as major media coverage of Ocularpation (including The New York Times, BBC, CNN, NBC and more) have provided the artist with a platform to ignite public discussion and an international call to action. The artist states, the inspiration for the Ocularpation performance and exhibition was personal: “When my mother lost all her savings and was forced to come out of retirement from the market crash of 2008, I knew we had to refocus attention on Wall Street, its actions, secrecy, and real repercussions on people’s lives.”

Artist Talk
A talk with Zefrey Throwell, Clark Winter (an internationally known investor and commentator on geopolitics and global financial markets) and more, will take place at the gallery. Date and additional participants TBA. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4D8E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D8E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4D8E-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-06" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745372</Latitude>
  <Longitude>-74.006664</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/4F6D" href="http://www.nyartbeat.com/event/2012/4F6D">
  <Name>ANTONIO PIO SARACINO &quot;Second Nature&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/05427C82">
    <Name>BosiDamjanovic Gallery</Name>
    <Type>Gallery</Type>
    <Address>48 Orchard St., New York, NY 10002</Address>
    <Phone>212-966-5686</Phone>
    <Fax></Fax>
    <Access>Between Grand and Hester Sts. Subway: F, J/M/Z to Delancey St. or F to East Broadway</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Furniture</Media>
  <Description><![CDATA[Second Nature derives its inspiration from as far back as Greek philosopher Aristotle and makes reference to objects that do not belong in nature but, through habitual use, these ‘foreign’ items become natural within the created human environment. The unadulterated, natural world can fill us with awe and wonder and throughout history has inspired many leading thinkers to investigate and explore the parallel between nature and human design – the root of Antonio’s recent work. In the spirit of this complex relationship, Second Nature intends to create an environment that unites the natural world with spirit and imagination and manifests itself through influential seating and furniture for a brave new world. The exhibition will showcase 10 of Saracino’s unique creations. Antonio Pio Saracino is an Italian-born architect and designer, living and working in New York and Italy.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/4F6D-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4F6D-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/4F6D-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-05</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>25</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.716392</Latitude>
  <Longitude>-73.990926</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5043" href="http://www.nyartbeat.com/event/2012/5043">
  <Name>Sylvia Wald Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8DBED0ED">
    <Name>The Sylvia Wald and Po Kim Gallery</Name>
    <Type>Gallery</Type>
    <Address>417 Lafayette St., 4th Fl., New York, NY 10003</Address>
    <Phone>212-598-1155</Phone>
    <Fax></Fax>
    <Access>Between Astor place and 4th st., Subway: 6 to Astor Place or N/R to 8th Street.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5043-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5043-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5043-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.728743</Latitude>
  <Longitude>-73.99238</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5B55" href="http://www.nyartbeat.com/event/2012/5B55">
  <Name>Thomas Ovlisen &quot;Tomato&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A8D1DABA">
    <Name>Klaus von Nichtssagend Gallery</Name>
    <Type>Gallery</Type>
    <Address>54 Ludlow St., New York, NY 10002</Address>
    <Phone>212-777-7756</Phone>
    <Fax></Fax>
    <Access>Between Grand and Hester Sts. Subway: F, J/M/Z to Delancey St. or F to East Broadway</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Klaus von Nichtssagend Gallery presents Tomato, an exhibition of new work by Thomas Ovlisen.  The show will feature paintings and sculptures by Ovlisen, who lives and works in Copenhagen, Denmark.
 
The title Tomato invokes a personal memory for Ovlisen.  His mother would reminisce to him as a child of her initial disdain for tomatoes which was tempered by her attraction to the brightly colored skin of the fruit.  Her love of the pretty outside fueled her determination to like tomatoes, and she persisted in trying to enjoy the taste until one day she finally did.  In this show, Ovlisen continues his investigation into surface and form, using polystyrene foam treated with a veneer of auto-lacquer. which is layered and sanded by Ovlisen to achieve a smooth, glaze-like finish. 

Two large freestanding and monolithic sculptures ask the viewer to reckon with scale and presence.  Other works are actually interactive, allowing the viewer to be an active participant in the show.  These works leaning against the wall bring to mind surfboards, in a nod to sculptors like John McCracken and American pop culture, through their shape, the lightness of the foam and the glossy finish of the paint.  Each work is lined on the top and bottom with coconut fiber floor mat, and the viewer is encouraged to handle the work , which can be flipped upside down or turned around to reveal an entirely different painting.  The result of this interactivity will be a shifting installation of the show, each iteration recast by the last active participant. 
 
The interactivity, playfulness, and approachability of the show is unique for abstract work, it breaks the separation implicit in the hanging of formal works on a white wall, and includes the viewer as a catalyst for actualization.  The leaning and spinning pieces are indeed perpetual works in progress, as arrangements and rearrangements allow for a determined fluctuation of physical and visual possibility.
 
Thomas Ovlisen was born in Denmark (1975) and has a received a BFA in 2001 from Rhode Island School of Design. He lives and works in Copenhagen, where he is represented by V1 Gallery.  In May, he will be participating in a show at the
Gammel Holtegård Museum in Denmark.  TOMATO is his third solo show with Klaus von Nichtssagend Gallery.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5B55-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5B55-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5B55-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.716583</Latitude>
  <Longitude>-73.989958</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/5E45" href="http://www.nyartbeat.com/event/2012/5E45">
  <Name>Will Kurtz &quot;Extra F***ing Ordinary&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/8701820A">
    <Name>Mike Weiss Gallery</Name>
    <Type>Gallery</Type>
    <Address>520 W 24th St., New York, NY 10011</Address>
    <Phone>212-691-6899</Phone>
    <Fax>212-691-6877</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Mike Weiss Gallery presents Extra F***ing Ordinary, Will Kurtz's debut exhibition at the gallery. The show consists of life size figural sculptures constructed of collaged torn sheets of newspaper, wood, wire, screws, tape and everyday objects which depict the characters captured by Kurtz's iPhone camera lens.

Utilizing the observing eye of a curious urban voyeur, Kurtz spends large portions of his days combing the streets of New York for his subjects which are later transformed into sincere and amusing life-size sculptures. It is not the subjects' aesthetic appeal that draws Kurtz as much as their essence and strong representation of the multitude of prototypes that typify New York City: from an old married couple and endearingly eccentric dog owners to curmudgeonly middle-aged smokers.
 
Kurtz’s sculptures openly reference real people engaged in real scenarios, be it posing for group shots at a tourist attraction, walking their dog, awkwardly changing their clothes or reluctantly sweeping the floors. Kurtz holds an admiring magnifying glass to the genre of subjects and scenes that are commonly overlooked. The subjects collectively present a candid and unapologetic mosaic of New Yorkers in their blunt, colorful, borderline-manic ways made of the same papers they read in coffee shops and subways during their morning commute.
 
As important as the subjects are to understanding Kurtz’s works is the medium—discarded and recycled bits of print publication, DIY building and packaging supplies, along with everyday objects that bring a sense of familiarity to the works. Kurtz leaves the subjects’ skin and clothes unpainted, inviting a closer inspection of the kaleidoscopic bits of text and images that form each figure. By emphasizing the technique and the material life of his figures, Kurtz diverges from such realist sculptors as Duane Hanson and Ron Mueck, famous for their meticulous replication of the human skin. Kurtz’s figures, therefore, are more emblematic than realistic, reminding viewers they are constructs of Pop-culture references—from daily savings coupons and scandalous political headlines to the cultural and fashion icons of the style section and page six. Kurtz’s work is more closely affiliated with the everyday reverence seen in Bill Cunningham’s snapshots of fashionable New Yorkers than any unifying sense of timeless existence. It is Kurtz’s own insouciant and humorous reminder of life’s temporality.
 
Will Kurtz received his MFA from the New York Academy of Art where he was the recipient of the Postgraduate Fellowship, 2009 – 2010. 

[Image: Will Kurtz &quot;Studio View&quot; (2011)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/5E45-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5E45-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/5E45-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74875</Latitude>
  <Longitude>-74.004378</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6018" href="http://www.nyartbeat.com/event/2012/6018">
  <Name>Johannes Girardoni &quot;Lost-and-Found&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B9AE77CF">
    <Name>Tomlinson Kong Contemporary</Name>
    <Type>Gallery</Type>
    <Address>270 Bowery, New York, NY 10012</Address>
    <Phone>212-966-3566</Phone>
    <Fax>212-463-7491</Fax>
    <Access>Between Houston and Prince Sts., Subway: F to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Tomlinson Kong Contemporary announces Lost-and-Found, an exhibition by the Austrian-born, American sculptor and installation artist Johannes Girardoni. Fresh off the critical success of his light and sound installation at the 54th Venice Biennale in the exhibition, Personal Structures, Girardoni is presenting new work composed of over-painted photographs, sculptures and site-specific installations.

The core vocabulary of Girardoni’s work is the convergence of light and material re-articulated into different physical forms. The situations he creates with his work are ones in which the viewer has to discern what is virtual and what is real. This minimalist concept of requiring the interaction of the viewer makes sense as Girardoni’s work is part of the ongoing dialogue that investigates the way art affects our physical reality and the space it occupies.

His over-painted photographs, referred to as “Exposed Icons,” are the result of a trip to Mali in 2008 that inspired him to see Western culture through a new lens. He began to see our physical environment as a result of the convergence of virtual and physical information, and billboards as iconic artifacts of the fundamental role advertising plays in forming the way we see ourselves. In Mali he saw a raw, pure and non-aestheticized culture that contrasted sharply with Western reality where our infrastructure is built on the convergence of digital and material systems. Girardoni began photographing the backsides or empty faces of billboards and digitally superimposing exposures to create new, visual structures. The digital images are then mounted onto aluminum where he further interacts with them by painting over portions of the image. The virtual algorithm of light required to create digital images converges in “Exposed Icons” with the physical paint and aluminum support to create a third form that contributes a new physical artifact to our surroundings.

Girardoni’s light and sound sculptures, referred to as “Refrequencers” or “Peak Light Extractions,” are a further expression of these same interests. Made of cast-resin pieces back-lit with LED panels, these works shift in appearance and color depending on the current light situation and the position and movement of the viewer. &quot;Refrequencers&quot; capture and digitally slow the waveforms emanating from the resin using sensors that reprocess the light information. In “Peak Light Extractions,&quot; Girardoni measures and isolates the highest intensity light frequencies coming through the resin, which provide the analogous color information of the loosely articulated paint of the constructed plywood panels. Perception and truth converge in these works by exploring the way information systems alter our behavior thereby creating constantly shifting realities.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6018-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6018-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6018-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-03-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-18" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>32</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.723546</Latitude>
  <Longitude>-73.992982</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6133" href="http://www.nyartbeat.com/event/2012/6133">
  <Name>Simone Leigh &quot;You Don’t Know Where Her Mouth Has Been&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/1D3ACD3B">
    <Name>The Kitchen</Name>
    <Type>Other</Type>
    <Address>512 W 19th St., 2 Fl., New York, NY 10011</Address>
    <Phone>212-255-5793</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave and West Side Hwy. Subway: A/C/E to 14th Street or C/E to 23rd Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[The Kitchen presents the New York premiere of You Don’t Know Where Her Mouth Has Been, a solo exhibition by sculptor and video-maker Simone Leigh. The exhibition, curated by Rashida Bumbray, features Leigh’s most recent explorations of materiality, women’s work, and Afro-futurism in sculpture, video, and site-specific installation.

Known for her archaic anthropomorphic sculptural forms in porcelain, terracotta, tobacco, glass, and steel, in addition to video and media-based works, Leigh’s practice often interrogates the notion of art—especially craftwork and sculpture—as merely decorative. She investigates the processes and cultural histories of constructing objects, bringing handmade ceramic vessels together with re-purposed found objects in order to put forth a dialogue between the aesthetically beautiful and brutally utilitarian. 
Leigh’s practice employs early African ceramic techniques to evoke contemporary parallels and underlying social and economic conditions. For You Don’t Know Where Her Mouth Has Been, the artist draws from the symbolic and political traditions of a diversity of influences—from early African-American face jugs and the manifesto of Africobra to Star Trek and Gilbert and Sullivan—in order to explore the slippages among multifarious cultural, political, and colonial histories that have laid claim to marginalized bodies. You Don’t Know Where Her Mouth Has Been will include three new bodies of work: sculptural chandelier installations, bust sculptures, and a video collaboration with artist Chitra Ganesh, featuring a musical score created and performed by Kaoru Watanabe. Leigh’s work was previously exhibited at The Kitchen as part of The Future As Disruption, a group exhibition that took place in Summer 2008. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6133-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6133-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6133-170" width="170" />
  <Karma>1.25095</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-18</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote>A free performance event on Monday, February 13, 7:00 P.M.</ScheduleNote>
 <Party type="1" date="2012-01-18" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745308</Latitude>
  <Longitude>-74.006186</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6153" href="http://www.nyartbeat.com/event/2012/6153">
  <Name>“Immaculate: Reflections of Mary” Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FE24F6F7">
    <Name>MF Gallery</Name>
    <Type>Gallery</Type>
    <Address>213 Bond St., Brooklyn, NY 11217</Address>
    <Phone>917-446-8681</Phone>
    <Fax>212-431-2579</Fax>
    <Access>Between Butler and Baltic Sts. Subway: F or G to Bergen Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>14:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="1" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[MF Gallery presents “Immaculate: Reflections of Mary”.
 
The Virgin Mary has played the longstanding role of a mother, daughter, wife, and saint. This iconographic female figure’s influence on artists has been expressed through songs, poetry, paintings and statues throughout history. Today she is represented in film, television, t-shirts, stickers, tattoos, and even visualized on toast, allotting her a most unusual occupancy in popular culture.
 
Immaculate: Reflections of Mary seeks to reveal artwork influenced by the Virgin Mary.  This unique collection will show us how her image has transcended from a figure in religious institutions into modern culture.
 ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6153-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6153-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6153-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.682833</Latitude>
  <Longitude>-73.987422</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/61D5" href="http://www.nyartbeat.com/event/2012/61D5">
  <Name>&quot;Resolve&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2456A56F">
    <Name>Joshua Liner Gallery</Name>
    <Type>Gallery</Type>
    <Address>548 West 28th St., 3rd Fl., New York, NY 10001 </Address>
    <Phone>212-244-7415 </Phone>
    <Fax>212-244-7416</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Joshua Liner Gallery presents Resolve, an exhibition of twenty-five emerging and established artists whose work is rooted in classical art traditions and training. In rendering the figure, still life, or landscape subject, this illustrious group (including twenty-two painters, two sculptors, and one photographer) expresses a collective interest in classical art forms with a variety of distinct and decidedly contemporary voices. As the first in a series of annual artist-curated exhibitions at Joshua Liner Gallery, Resolve is organized by gallery artist Tony Curanaj and includes works by the following artists:

Anthony Waichulis, Brad Kunkle, Christopher Gallego, Dan Thompson, David Kassan, Edward Minoff, Graydon Parrish, Jacob Collins, Jacob A. Pfeiffer, Jefferson Hayman, Jeremy Mann, Kate Lehman, Kim Cogan Kris Kuksi, Kris Lewis, Lee Misenheimer, Michael Grimaldi, Rob Leecock, Scott Waddell, Shawn Smith, Shawn Barber, Steven Assael, Tony Curanaj, Travis Schlaht, Will Wilson

Though considered divergent from the postwar developments of Pop, Conceptual, and Minimalist art (among others), the curriculum of classical art training—with its emphasis on skill and the realistic depiction of the figure, still life, and landscape—has nevertheless continued to evolve through the interests and talents of contemporary artists. Creating on the fringes of graduate-school art programs and modern art theory, these intrepid practitioners of traditional art forms and techniques have kept them alive and vibrant, while reinterpreting them through the social and visual culture of their time.

Such influences as Van Eyck, Caravaggio, and Rembrandt, as well as Klimt, Degas, and the pre- Raphaelites, to name but a few, can be discerned in many of the figure and portrait paintings and drawings collected here. The gestures, settings, and mood, however, are entirely of the moment, emphasizing the evergreen nature of classical training and its capacity to adapt to whatever arises, from tattoo culture to contemporary graphic design. Vestiges of Turner, Eakins, and other masters are also apparent in the landscape and figurative works included, but elsewhere one can see the boundary-pushing daring of more recent and contemporary figures such as Andrew Wyeth, Antonio López García, and Odd Nerdrum.

Among the painters featured, all work in traditional media, most employing oils or egg tempera on canvas, linen, or panel. The sculptors choose from more unorthodox materials, such as toy figurines and dyed blocks of wood, while continuing a dialogue with their time through the tools and history of realism. The founders, teachers, or graduates of such influential institutions as the Water Street Atelier, Grand Central Academy of Art, New York Academy of Art, Ani Art Academy, and Janus Collaborative School of Art are included in the exhibition. In their masterful hands, the tendency toward realism serves a fresh, new generation of artists in capturing their disparate worlds, lives, and vision.

According to curator-artist Tony Curanaj: “This exhibition of colleagues and influences reflects a relatively narrow but varied slice of the art world, and presents it to an audience that may not be exposed to this segment of contemporary art practice. The title Resolve speaks of their determination and progression, qualities that imbue each of these works with beauty and technical virtuosity. From concept to execution, these contemporary masters of their craft are completely engaged in the artist’s process and an artistic direction that is unwavering, regardless of fashion or trend.”

[Image: Tony Curanaj &quot;Nouveau Red&quot; (2011) Oil on canvas, 18 x 36 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/61D5-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/61D5-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/61D5-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751297</Latitude>
  <Longitude>-74.003361</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/64AB" href="http://www.nyartbeat.com/event/2012/64AB">
  <Name>&quot;Building as Everydayness&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/051DE6C6">
    <Name>Scaramouche</Name>
    <Type>Gallery</Type>
    <Address>52 Orchard St., New York, NY 10002</Address>
    <Phone>212-228-2229</Phone>
    <Fax></Fax>
    <Access>Between Grand and Hester Sts.  Subway: F to Delancey Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 13:00, sundays closinghour 17:30</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[Scaramouche presents the exhibition, &quot;Building as Everydayness&quot;, uniting a group of artists living and working in Paris. Each of these artists utilizes architecture and the built environment as a starting point for exploring the forgotten histories, individual memories, and political events embedded in the inanimate and quotidian world. Working with a variety of media including sculpture, collage, video, and installation, the artists have adopted Henri Lefebrve's aim in the Critique of Everyday Life (1947) - that the &quot;object of our study is everyday life, with the idea, or rather the project (the programme) of transforming it.&quot; However utopian this Modernist goal was in the 1940s, its triumphs and failures can be seen in the distinctive motifs running through the artists' work, in their examination of the physical ruins of Modernist architecture in the present-day, as well as the adoption of Modernist abstraction in the fields of commercial design and popular culture.
 
Raphaël Grisey's video Minhocão [The Big Worm] is a multi-layered portrait of a Rio de Janeiro housing complex built in the 1940s. A car with loudspeakers attached to its hood drives around the complex, broadcasting a text by Eduardo Affonso Reidy, the site's architect.  Weaving scenes of the complex's current state of ill-repute, interviews, and extracts from a 1970s film shot there, the film raises issues about patrimony and memory in social housing. Like Grisey, Antonia Carrara's work focuses on present-day ruins of Modernist architecture. In Carrara's video Secret Portrait with W.B., a young man by the name of Walter Benjamin (the same as the Frankfurt School critical theorist) gives a guided tour of an island on Lake Como, Italy, winding you through the remains of artists' residences built on Mussolini's orders in the 1930s; Having never been inhabited, the buildings are now overrun by nature. Chloé Dugit-Gros' work is often an articulation of language, operating on the level of the image and the visual signal. Referring to urban cultural codes, and inspired by architectural motifs and their utopian potential, her installations bring together formal elements to compose a narrative sketch. Thomas Klimowski's Patterns series consists of collages that bring to light similarities between disparate landscapes, built environments and time-periods. He reveals iconographic semblances in observations of hard-edged geometric motifs and images of the natural and denaturalized world. Julia Rometti &amp; Victor Costales' series of printed images is inspired by the previous work Without Rain, and is comprised of postcards depicting North and South American environments. Punctuated by 20th century interventions into the landscape, including skyscrapers and twisting highways, these settings lack the idyllic qualities usually associated with nostalgic souvenirs.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/64AB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/64AB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/64AB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-15" start="16:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.716528</Latitude>
  <Longitude>-73.991056</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/66E2" href="http://www.nyartbeat.com/event/2012/66E2">
  <Name>&quot;Campaign&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6C6B5CBA">
    <Name>C24 Gallery</Name>
    <Type>Gallery</Type>
    <Address>514 W 24th St., New York, NY 10011</Address>
    <Phone>646-416-6300</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>Misc.: Performance Art</Media>
  <Description><![CDATA[C24 Gallery presents CAMPAIGN, a group exhibition curated by Amy Smith-Stewart. The exhibition places the popular depiction of the female body in a torrent of unrestrained expression from 27 international artists. Smith-Stewart states: “We are a culture obsessed with image making. The rapidly growing and absolutely powerful rise of new media embrace the celebrity lifestyle of “making it.” Who we are and what we are have become reflections of popular thinking.”

Incorporating an array of media, CAMPAIGN goes under the surface of digitally manipulated imagery of the homogenized female in order to understand how this has become a repository for confused and misplaced notions of status, power, dominance and beauty. By showing how women’s bodies are marketed, CAMPAIGN poses questions such as: What perpetuates this hegemonic depiction of women and how do we reveal what is really underneath the super-perfect veneer?

While appropriating imagery from mainstream culture and repurposing fashionable tropes, CAMPAIGN creates alternative meanings that reveal hidden truths—exploring the stereotypes of femininity to uncover contemporary self-reflective practices. The artists show how technological advances enable the manipulation of a visual vernacular. This fuels a fixation with transformation that complicates ongoing struggles with personal identity.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/66E2-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/66E2-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/66E2-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.748514</Latitude>
  <Longitude>-74.004428</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/676D" href="http://www.nyartbeat.com/event/2012/676D">
  <Name>&quot;Black &amp; White&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B4C260C3">
    <Name>Salmagundi Art Club</Name>
    <Type>Cultural Center</Type>
    <Address>47 5th Ave., New York, NY</Address>
    <Phone>212-255-7740</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Sts. Subway: 4/5/6/L/N/Q/R/W to 14th Street/Union Square.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Held annually since 1878, the Black &amp; White Exhibition has in the past included great American artists such as William M. Chase, Thomas Moran, John Singer Sargent, and James M. Whistler. 
 
This exhibition in the Upper Gallery of black &amp; white or sepia monochromatic drawings, graphics, photographs, paintings, and sculpture by artist members.  

[Image: Thomas Shelford &quot;Camp Hero Montauk View&quot; Monotype print on paper]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/676D-30" width="30" />
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  <Karma>0</Karma>
  <Price free="0"></Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-02-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-03" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>1</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.734286</Latitude>
  <Longitude>-73.994664</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/68D1" href="http://www.nyartbeat.com/event/2012/68D1">
  <Name>Eric Wesley &quot;2 new works&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/A6550E82">
    <Name>Bortolami</Name>
    <Type>Gallery</Type>
    <Address>520 W 20th St. New York, NY 10011 </Address>
    <Phone>212-727-2050</Phone>
    <Fax>212-727-2060</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Bortolami gallery presents Eric Wesley's third solo show at the gallery.
 
The first work, &quot;The Improbability of Intentionally Creating Shock&quot;, is comprised of four individually presented elements constituting an elaborate machine. The artist confronts issues of success and failure, and initiates a conversation about the nature of &quot;shock&quot; by literally attempting to &quot;shock&quot; the audience. The primal intent of the work involves one person, the artist, touching another, the viewer: an electrical and biological exchange of energy. The first element is an exaggerated rubber band acting as power supply and storage of energy. Then there is the anchoring system that fixes the machine to a stable point within the space. The center piece of the apparatus is a 200-pound solid-steel chrome-plated square wheel. The final element is the point at which static electricity interacts with the observer, creating a tickling mild zap, or simply the sense of anticipation. The shock is merely implied and not made explicit, derived from physical form and phenomenon, or lack thereof.
 
Presented in the smaller gallery, the second work is a temporary room which demonstrates a paradox of time and space. A three-by-five foot representation of the continent of Europe floats in the room. The likeness of the EU is rendered in great detail according to multiple sources of information. The artist trusted established topological maps, images from space (NASA, ESA), as well as instinct and memory. The viewer walks into this room in New York City from 10am to 6pm to encounter the waning of daylight into darkness of Europe, designed to accurately portray the present reality on the other side of the Atlantic.
 
Eric Wesley was born in Los Angeles, California in 1973, where he continues to live and work. Wesley has held solo exhibitions in galleries internationally as well as at the Museum of Contemporary Art, Los Angeles and Foundation Morra Greco, Naples, Italy. Wesley has participated in group shows at the Hammer Museum in Los Angeles; Musée d'Art Contemporain, Bordeaux, France; Fundación/Colección, Jumex, Mexico; Museo d'Arte, Benevento, Italy; The Prague Biennial in 2007; Institute of Contemporary Art, London; P.S.1, New York; and the Studio Museum in Harlem. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/68D1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/68D1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/68D1-170" width="170" />
  <Karma>1.09848</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.745964</Latitude>
  <Longitude>-74.006244</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/69B1" href="http://www.nyartbeat.com/event/2012/69B1">
  <Name> Thomas Scheibitz &quot;A Panoramic View of Basic Events&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/545C297B">
    <Name>Tanya Bonakdar Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 21st St, New York, NY 10011</Address>
    <Phone>212-414-4144</Phone>
    <Fax>212-414-1535</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[For his seventh solo exhibition at the gallery, titled &quot;A Panoramic View of Basic Events,&quot; Thomas Scheibitz will present an extraordinary group of new paintings, sculptures, drawings, and collages.  These pieces function as a meditation on composition across several different media, as the artist continues his  exploration of perspective, the fine line between abstraction and figuration, and the fusion of the painterly and the graphic. Combining imagery that references classical architecture, the contemporary urban landscape, and popular culture, Scheibitz filters these sources of inspiration through his own lens of abstraction to create visually dynamic and compelling works that are layered with meaning and references, yet remain enigmatic.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/69B1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/69B1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/69B1-170" width="170" />
  <Karma>1.19241</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746647</Latitude>
  <Longitude>-74.005653</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6ABF" href="http://www.nyartbeat.com/event/2012/6ABF">
  <Name>Hans-Peter Feldmann Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/AA2A3256">
    <Name>303 Gallery (547 W 21st Street)</Name>
    <Type>Gallery</Type>
    <Address>547 W 21st Street, New York, NY 10011</Address>
    <Phone>212-255-1121</Phone>
    <Fax></Fax>
    <Access>Between 10th Ave. and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Hans-Peter Feldmann was the recipient of the 2010 Hugo Boss Award, and displayed this prize in its entirety as his exhibition at the Guggenheim Museum, New York. His work has recently been featured in exhibitions at Malmö Konsthall in Sweden Reina Sofia, Madrid, Kempner Art Museum St. Louis, and MOCAD, Detroit. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6ABF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6ABF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6ABF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-24</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747047</Latitude>
  <Longitude>-74.006278</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6B16" href="http://www.nyartbeat.com/event/2012/6B16">
  <Name>&quot;Facture&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/42F48A6C">
    <Name>Airplane</Name>
    <Type>Gallery</Type>
    <Address>70 Jefferson St., Brooklyn, NY 11206</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Evergreen and Bushwick Aves., Subway: J/M/Z to Myrtle Ave.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="1" sat="1" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Combining a handmade aesthetic with a range of materials, the works in this show manipulate spatial perception and challenge the distinctions between sculpture, painting, photography, and video. Through their formal qualities, along with personal, cultural, and technological references, the works evoke questions about the physicality of the art object. Facture includes work by Hector Arce-Espasas, Jeremy Couillard, Amy Feldman, Elana Herzog, Gisela Insuaste, Jessica Labatte, LoVid, Heather Rasmussen, and Jamil Yamani.  

In Jessica Labatte’s photography, everyday objects are juxtaposed to create abstracted tableaux of vivid colors and geometric shapes. 
Heather Rasmussen reconstructs scenes of shipping container accidents from pieces of brightly colored paper on seamless background paper. In the resulting photographs, the objects retain the fragility of their constructions. Familiar objects are decontextualized and abstracted.  
Using frayed pieces of fabric and wooden and metal supports, Elana Herzog’s labor-intensive work transforms architectural space while reinterpreting the structures of painting, sculpture, and installation. Hector Arces-Espasas’s photograph incorporates painting and portrays a paradisiacal landscape. Gisela Insuaste’s wooden sculptural works depict urban spaces and landscapes and explore the intersection of architecture, topography, and memory. In Amy Feldman’s abstract painting, inverted triangular shapes are utilized to examine spatial structures, as she explores the relationship between figure and ground.   

Jamil Yamani’s video projection of brightly colored circular shapes recall the imagery of mosaic tiles in Islamic architecture and transform into chaotic, flashing lights in the landscape of New York. LoVid, an interdisciplinary artist duo of Tali Hinkis and Kyle Lapidus, construct works of disparate materials ranging from video to fabric as well as performances. In Network, electrical wires were woven together and used to conduct live video, revealing the technological infrastructure and creating a tactile experience. Jeremy Couillard views science as an aesthetic in his painting, which illustrates the evolution of totem poles in a cellular environment —in architectural and biological terms. Patterns and shapes are maniacally repeated, creating a distorted space.    

Eileen Jeng is an independent writer and curator and the archivist at Sperone Westwater gallery in New York. Previously, she was a research assistant in the Department of Contemporary Art at The Art Institute of Chicago. She has been involved in various projects, such as FLOAT at Socrates Sculpture Park in 2007. She received an MA in arts administration and policy from The School of the Art Institute of Chicago and a BA in art history and advertising from Syracuse University.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6B16-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B16-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B16-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.698698</Latitude>
  <Longitude>-73.932495</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6B5B" href="http://www.nyartbeat.com/event/2012/6B5B">
  <Name>&quot;Optimismo Radical, 2&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3897570B">
    <Name>Josee Bienvenu Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., New York, NY 10011</Address>
    <Phone>212-206-7990</Phone>
    <Fax>212-206-8494</Fax>
    <Access>Between 10th Ave. and West Side Highway. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Josée Bienvenu Gallery presents Optimismo Radical, 2. Bringing together nine international artists, the title assembles two words that don’t ﬁt well. As a result, a high indeﬁnition that functions in a number of languages -Spanish, English, Portuguese, French- without being clearly understandable in any of them. Two redundant or contradictory words? Is radical optimism the opposite of moderate optimism? Or the opposite of conservative pessimism? The intention is to create a precise confusion, a label out of focus. In 2012, the gallery will inaugurate a series of individual project room exhibitions under the same title.

Ricardo Alcaide was born in 1967 in Caracas, Venezuela. He currently lives and works  in Sao Paolo, Brazil. Hinged between the poetic and the political, his juxtapositions of images and objects question how people cope with economic and social exclusion in different environments. He has been interested in the Latin American Modernist Movement’s often un-acknowledged debt to vernacular world architecture. His ongoing series of paintings “A Place to Hide”, based on photographs of temporary structures built by homeless people, investigates the notion of shelter. Recent exhibitions include:  A Place To Hide,  Baró Galería, Sao Paulo (2011); Horizonte Vasado, Artistas Latinoamericanos en el ﬁlo, Instituto Cervantes, Sao Paulo, Brazil (2010). 

Benjamin Appel was born in 1978 in Augsburg, Germany, he lives and works in Karlsruhe, Germany. He graduated from the Karlsruhe Art Academy where he studied under Gerd van Dülmen, Thomas Zipp and Daniel Roth. At the interface between painting, sculpture and everyday object while pocking fun at them, Benjamin Appel is committed to the unspectacular and the fragile. sculptural installation of art povera materials such as concrete, earth, soil and elements of furniture coexist with abstract compositions on canvas.  Recent exhibitions include: Das Zimmer des Eremiten, NADA Miami, Weingruell gallery, Die Schwelle des Hauses, Studiokontrolle, Karlsruhe (2010);  Wie Der Vogel in seinem Nest, Kunstahalle Mannheim, Germany (2009).

Johanna Calle was born in Bogota, Colombia in 1965 where she lives and works. She received her MFA from the Chelsea College of Art at the London Institute, London UK in 1993. For the last ten years, she has been focusing exclusively on the medium of drawing. Her work consists of a non-narrative, critical and analytical approach to social and cultural issues in Colombia, speciﬁcally matters relating to women and children, social structures, urbanism and language. Her work was recently featured at the 12th Istanbul Biennial in Turkey, and is currently on view in The Air We Breathe at the San Francisco Museum of Art and in  Submergentes: a drawing approach on masculinities, Museum of Latin American Art (MOLAA), Long Beach, California.  Since 2006 she has had several solo exhibitions with Galeria Casa Riegner in Bogota. She is now preparing for a solo show at Galeria Marilia Radzuk in Sao Paulo, Brazil.

Born in Buenos Aires in 1961,  Alejandro Corujeira moved to Madrid in 1991. His meditative paintings and drawings refer to American Minimalism from Agnes Martin to Brice Marden, and to the Latin American abstract geometric tradition. A past resident of the Josef and Annie Albers Foundation, he has exhibited extensively in Europe and South America with solo exhibitions at the Museo Reina Soﬁa in Madrid and at the IVAM in Valencia. Recent and upcoming exhibitions include: Dan Galeria, Sao Paolo, Brazil (2012); El Comienzo, Marlborough gallery, Madrid, Spain; Lo accessible, vestido de sales, Marlborough Gallery, New York (2009).

Dario Escobar was born in Guatemala City in 1971 where he lives and works. He is known for his sculptural re-contextualization of everyday objects exploring concepts of sculptural, cultural, a n d  h i s t o r i c a l  h y b r i d i t y. I n  2 0 0 9 ,  h e  r e p r e s e n t e d  Gu a t ema l a  a t  t h e  5 3 r d   Ve n i c e Biennale. Upcoming and recent exhibitions include: Singular-Plural, a traveling solo exhibition at Savannah College of Art and Design (SCAD),  Atlanta, GA  (2012). Selections from the Jumex collection, at the Instituto Cultural Cabañas, Guadalajara, México (2011); Video otra vez, Museo de Arte Contemporáneo de Fortaleza, Brazil (2011); From the Recent Past: New Acquisitions, The Museum of Contemporary Art (MOCA), Los Angeles, CA (2011). His ﬁrst monograph will be published by Harvard University Press this year.

Miguel Mitlag was born in Buenos Aires, Argentina in 1969 and currently lives in Turin, Italy. He studied ﬁlm making in Buenos Aires in the 1990’s where he became a member of the experimental art group, ‘Art Destroy’. Minilab, Color Tests, Tropical Experiment: Miguel Mitlag’s photographs seem to document the lab of some mad scientist, they blur the boundaries between science and ﬁction. Ordinary and nearly abstract objects are carefully arranged in spaces ﬁlled with light and super bright colors in a ‘70’s Povera’ aesthetics that recalls Pedro Almodovar’s early ﬁlm sets. Recent exhibitions include:  Como Hacer Un Experimento, Galería Braga Menéndez, Buenos Aires, Argentina (2010);  Anunciamos una repetición....Espacio Telefónica, Buenos Aires, Argentina (2010).

Philomene Pirecki was born in the Channel Islands, UK in 1972, she lives and works in London. She received her MA from The Royal College of Art, London in 1996. At the core of her work is an ongoing enquiry into notions of deﬁnitive representations. Using a  range of media from painting, photography, drawing and sculpture, Pirecki employs slight gestures to modify ﬁxed points of experience in time, history and visual memory.  Recent and upcoming exhibitions include:  Aukje Koks and Philomene Pirecki, MOT International, Brussels, Belgium (2012); Clockwork Gallery, Berlin, Germany (2012); Laure Guenillard, London (2011) ; Aftermath, Chelsea space, London (2011). She also runs the project space Occasionals in London.

Marco Rountree was born in Mexico DF in 1982. He started his career as a grafﬁti artist in  the streets of Mexico, where he still lives. Lately, he has been creating installations of altered books, questioning the access to knowledge in countries where the lower income population doesn’t gain access to education. Recent exhibitions include: Group Show, Museo de arte Moderno, Mexico DF (2011);  Art Positions, Art Basel Miami Beach, Travesía Cuatro, Madrid (2011); Commissioned project curated by Patrick Charpenel for the Coppel collection, Culiacan Sinaloa, Mexico (2011); Nothingless and the being, Coleccion Jumex, Mexico DF, Curated by Shamim Momin (2009).

Fidel Sclavo was born in 1960 in Uruguay. He lives and works in Montevideo and Buenos Aires. As an acclaimed graphic designer, he has published many illustrations and  became reknown for his poster designs. His current work involves fragmenting language in many ways, creating abstract alphabets, micro-pop watercolors and minimal installations. Recent exhibitions include: Cartas no leídas, Tiempos Modernos, Madrid, Spain (2011); Recent work, Centro Cultural de España, Montevideo, Uruguay (2011);  Canvas and papers, Galería Jorge Mara-La Ruche, Buenos Aires, Argentina (2010).

[Image: Miguel Mitlag &quot;2010, Your black pill, Sr., (detail)&quot; (2010) Lambda C-Print, Edition 2 of 5, 29.5 x 29.5 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6B5B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B5B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6B5B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6C16" href="http://www.nyartbeat.com/event/2012/6C16">
  <Name>Chie Fujii &quot;fragment memories&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/5824D07A">
    <Name>Ouchi Gallery</Name>
    <Type>Gallery</Type>
    <Address>170 Tillary St., Suits 507, Brooklyn, NY 11201</Address>
    <Phone>347-559-1368</Phone>
    <Fax></Fax>
    <Access>Between Gold St. and Flatbush Ave. Subway : M/N/R to Lawrence Street or C/F to Jay Street.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Appointment needed.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Chie Fujii was reared in Nagoya and Tokyo, Japan. She holds a masters degree in sculpture from Tokyo University of the Arts. After graduating Chie worked in the product industry in Tokyo for 6 years  as a 3D modeling and 3D scanning artist ,which create digital models from scan data to replicate existing real-world objects or from 2D only concepts. This professional experience, creating actual three-dimensional models from 3D software,  has influenced her current work where she creates sculpture, not only by hand,  but with computer 3D software. Her work explores themes of the mind, reality vs. fantasy and what makes up the human body.  In her thought and work, memory forms the boundary between reality and fantasy,  also between herself and others.
Chie lives and works in Los Angles and New York, working as a sculptural artist. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6C16-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6C16-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6C16-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-14</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.696</Latitude>
  <Longitude>-73.983322</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/6EA7" href="http://www.nyartbeat.com/event/2012/6EA7">
  <Name>Luka Fineisen &quot;Phase Transitions&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/AB3F7C7B">
    <Name>Hosfelt Gallery</Name>
    <Type>Gallery</Type>
    <Address>531 W 36th St., New York, NY 10011</Address>
    <Phone>212-563-5454</Phone>
    <Fax>212-244-8566</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street - Penn Station</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Using frost, foam, food, glitter, viscous liquids and molten metal, German artist Luka Fineisen presents ambitious sculptural works that explore moments of becoming. This exhibition is the premiere of Fineisen's work in the United States.

&quot;Phase transitions&quot; is the term used in thermodynamics to describe the shifts between solid, liquid and gaseous states of matter. At a literal level, this is what Fineisen represents in her work - tipping points - the transitional moments when a substance changes from one condition to another. While playing with formal sculptural concerns of modernism and post-minimalism, she explores movement, evanescence and potential. The work is dichotomous - scientific but sensuous, liquid and solid, monumental and fragile, simultaneously in the process of being created and destroyed. Fineisen is unafraid of creating something delightful, but fascinated by the moment when that allure becomes unnerving. When sensuality becomes dangerous. When attraction turns to repulsion. Fineisen shows us the exact moment when she loses control over her creation and the coin- ciding love and fear of that instant.

[Image: Luka Fineisen &quot;Frosting (detail)&quot; (2012) coolant, humidifier, metal, wood, rubber, styrofoam, frost]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/6EA7-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6EA7-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/6EA7-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-03-31</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>51</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.756258</Latitude>
  <Longitude>-73.999083</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/70A3" href="http://www.nyartbeat.com/event/2012/70A3">
  <Name>Greg Sholette &quot;Fifteen Islands for Robert Moses&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/8049BA8A">
    <Name>Queens Museum of Art</Name>
    <Type>Museum</Type>
    <Address>Queens Museum of Art, Meridian Rd., Flushing, NY 11368</Address>
    <Phone>718-592-9700</Phone>
    <Fax></Fax>
    <Access>Ten-minute walk through the park to the Unisphere, where the museum is located. Follow the yellow signs. Subway: 7 to Willets Point/Shea Stadium</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>saturdays openinghour 12:00, sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote>Closed Monday &amp; Tuesday With the exception of Learning Programs &amp; Workshops.  Also closed on New Year’s Day, Thanksgiving, and Christmas Day.</ScheduleNote>
  </Venue>
  <Media>3D: Architecture</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>3D: Product</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[Fifteen Islands for Robert Moses is a site-specific art infiltration into the Panorama of the City of New York, which was built for the 1964 World’s Fair by urban planner Robert Moses and is now a centerpiece of the Queens Museum of Art. Artist and theorist Greg Sholette made and placed new islands about the Panorama’s waterways, where they exist as silent, post-9/11 observers of the City’s past, present, and future. Modeled in the same style as the Panorama, each island represents Sholette’s interpretation of a question he posed to a group of other artists and art theorists: “If you could add an island to New York City, what would that new landmass be like?” Touching on issues from environmental and economic justice to the overflowing archives of human memory and immigrant’s rights, the new fantasy islands interrupt the familiar geography of the Panorama, subtly haunting a favorite destination for students, tourists, and urban planners. Surrounding the Panorama is a series of posters about the project’s participating collaborators: Hana Shams Ahmed, Brett Bloom, Larry Bogad, Marc Fischer, Aaron Gach/Center for Tactical Magic, Libertad Guerra, Dara Greenwald, Marisa Jahn, Karl Lorac/Themm!, Ann Messner, Ted Purves, Rasha Salti, Dread Scott and Jenny Polak, Jeffrey Skoller, and Nato Thompson. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/70A3-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/70A3-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/70A3-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested donations: Adults $5, Seniors and Children $2.50, Members and Children under 5 Free</Price>
  <DateStart>2012-02-05</DateStart>
  <DateEnd>2012-03-20</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-04" start="18:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>40</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744969</Latitude>
  <Longitude>-73.84685</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/70EC" href="http://www.nyartbeat.com/event/2012/70EC">
  <Name>Tadaaki Kuwayama Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CB6D328A">
    <Name>Gary Snyder Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., Fl. 10, New York, NY 10011</Address>
    <Phone>212-929-1351</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Gary Snyder Gallery announces Tadaaki Kuwayama, an exhibition of four site-specific works in titanium, aluminum, Mylar and Bakelite at 529 West 20th Street, opening on January 19, 2012. The main gallery will be configured to contain two distinct installations: Untitled (1992/2012), a horizontal line of twenty-two red aluminum elements that wrap around a corner, and Untitled (2012), eight pink titanium panels standing vertically on the floor at alternating angles. This is the first work Kuwayama has made in this material. The south gallery will feature Untitled (1996/2012), a set of six Mylar sheets bisected by a thin line of red and blue graphite, and Untitled (1992/2012), eight panels of finely grooved, pale pink and yellow Bakelite.

This exhibition follows acclaimed museum shows of Kuwayama’s work in Japan and the United States. His retrospective, Out of Silence, held at the Nagoya City Art Museum in 2010, presented work ranging from early 1960s monochrome canvases to a recent floor-installation of alternating silver and gold aluminum cylinders. In 2011, Untitled – Tadaaki Kuwayama, his solo show at the 21st Century Museum of Contemporary Art, Kanazawa, consisted of five site-specific installations, including a ring of nine-foot-tall anodized aluminum panels in one of the museum’s interior courtyards. The following June, the National Museum of Art in Osaka presented White, for which the artist installed sixty works, including three series of white paintings on handcrafted washi paper. In 2009, Kuwayama’s Untitled (1962) was included in The Third Mind: American Artists Contemplate Asia, 1860–1989, and is currently on display in Surface, Support, Process: The 1960s Monochrome in the Guggenheim Collection. In November this year, Kuwayama will have a solo exhibition at the Museum of Modern Art, Hayama, Japan, and in early 2013 he will show at the Daegu Art Museum, Daegu, South Korea.

Born in Nagoya in 1932, Tadaaki Kuwayama studied nihonga painting at the Tokyo National University of Art. Dissatisfied with the constraints of traditional practice, he and his wife, the artist Rakuko Naito, moved to New York City in 1958. He soon developed a minimalist aesthetic, which at first consisted of two vivid colors juxtaposed in horizontal and vertical compositions, as well as monochromatic panels divided by thin strips of chrome. In 1961 and 1962, he had solo exhibitions at the famed Green Gallery, which showcased other influential artists of the day, including Ralph Humphrey, Dan Flavin, and Robert Morris. Kuwayama’s work attained broad recognition, and was featured in the Guggenheim Museum’s legendary Systemic Painting exhibition in 1966.

Since the 1960s, Kuwayama has had solo exhibitions at many prestigious and influential galleries, including: Green Gallery (1961, 1962, New York), Tokyo Gallery (1967, Tokyo), Galerie Bischofberger (1967, 1968, Zürich), Gallery Yamaguchi (1985, 1989, 1993, 1997, 2001, 2005, 2010, Osaka), Nagoya City Art Museum (1990, Nagoya), Satani Gallery (1990, 1992, 1996, Tokyo), and GARY SNYDER Project Space (2008, New York). During this period his work was also featured in numerous landmark museum exhibitions, such as Vormen van de Kleur (1966–1967, Stedelijk Museum, Amsterdam), Kunst wird Material (1982, Nationalgalerie Berlin), Japanese Art After 1945: Scream Against the Sky (1994, Solomon R. Guggenheim Museum), Monochromes: From Malevich to the Present (2004, Museo Nacional Centro de Arte, Reina Sofía, Madrid), and The Third Mind: American Artists Contemplate Asia, 1860–1989 (2009, Solomon R. Guggenheim Museum). In 1985, the Kitakyushu Municipal Museum of Art held his first retrospective in Japan.

Kuwayama’s work is featured in the collections of over forty major museums, including: the Albright-Knox Art Gallery, Buffalo; the Hara Museum of Contemporary Art, Tokyo; the Hiroshima City Museum of Art; the Indianapolis Museum of Art; the Kawamura Memorial Museum of Art, Chiba; the Museum of Contemporary Art, Tokyo; the Museum of Modern Art, New York; the Nagoya City Art Museum; the Nationalgalerie, Berlin; the National Museum of Art, Osaka; the National Museum of Modern Art, Tokyo; the Solomon R. Guggenheim Museum, New York; the Staatsgalerie, Stuttgart; the Stiftung für Konstructive und Konkrete Kunst, Zürich; and the 21st Century Museum of Contemporary Art, Kanazawa.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/70EC-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/70EC-170" width="170" />
  <Karma>3.72093</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-17</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-19" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746264</Latitude>
  <Longitude>-74.006225</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/7668" href="http://www.nyartbeat.com/event/2012/7668">
  <Name>David Maljkovic and Lucy Skaer &quot;Scene, Hold, Ballast&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D5D33496">
    <Name>SculptureCenter</Name>
    <Type>Event Space</Type>
    <Address>44-19 Purves St., Long Island City, NY, 11101</Address>
    <Phone>718-361-1750</Phone>
    <Fax>718-786-9336</Fax>
    <Access>Corner of Jackson Ave.  Subway: E/V to 23rd Street/Ely Avenue, G to Court Square, 7 to 45th Road/ Court Square</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[SculptureCenter presents Scene, Hold, Ballast a two person exhibition with David Maljkovic and Lucy Skaer, artists whose work shares an engagement with sculpture, film, and distinct approaches to exhibition design. Scene, Hold, Ballast conceived as a dialog, will feature new works by Maljkovic and Skaer commissioned through SculptureCenter's Artist in Residence program. This exhibition is guest curated by Fionn Meade. 

Scene, Hold, Ballast will feature new works by Maljkovic and Skaer that further explore affinities and correspondences in their respective practices. In an ongoing series Temporary Projections Cycle, David Maljkovic's retrospective mode of tracing and negotiation is turned toward his own studio practice, its history, and imagined futures, including new works in film, painting, and sculpture. And Lucy Skaer continues her transformation of existing artifacts and architecture with a new 35mm film, a photographic series and related sculptures. Both artists have repeatedly explored what it means to inhabit and give spatial contour to their references. For example, Maljkovic gained access to the guarded test track of Peugeot headquarters in order to cast retired company workers in out-of-time embraces alongside futuristic automobile prototypes (Out of Projections, 2009), and Skaer's placed the heft of a sperm whale skeleton behind partitioned walls to enact the interval nature of the moving image (Leviathan Edge, 2009). 

Lucy Skaer's installations subject the conventional classification of objects and historical references to scrutiny, shifting meaning toward the symbolic and absurd. Often working with pre-existing imagery and found forms, Skaer's sculptures, films, and works on paper emphasize repetition and variation even as they retain a gestural immediacy. Her surrogate adaptations of Constantin Brancusi'sýsculptures, for example, use familiar forms as a decoy for exploring faltering modes of industrial production and distribution, resulting in the collapse of image and object into a shared psychological space a characteristic of much of her work. Skaer's work re-animates the power of the symbolic that lies beyond obsolescence, as in a recent 35mm film that imagines the memory of a film projector from an abandoned cinema in Leeds, England. 

Film, video, and stage scenography likewise play a central role in David Maljkovic's work and his ongoing critical engagement with the legacy of modernism. Constructing future histories via diverted glimpses onto overlooked moments of past innovation, Maljkovic's sculpture, collage, painting, drawing, and architectural mis-en-scene often refer to Yugoslav socialism and the aesthetics of international modernism. Maljkovic mines a rift between the utopian aspirations of former avant-garde strategies, their frequently cataclysmic results, and the present moment. The film Images With Their Own Shadows (2008), for example, is set in the villa and former studio of the influential Croatian artist and architect Vjenceslav Richter (1917-2002), and combines sound clips from Richter's last interview with highly suggestive tableaux vivant of young people, open mouthed in their attempt to speak. Here, the sounds and imagery of the past irrevocably darken the present but the future is made equally contingent through embodied, participatory rehearsal. 

Artist Biographies 
David Maljkovic was born in Rijeka, Croatia, in 1973, and lives in Zagreb, Croatia. After studying at the Academy of Fine Arts, Zagreb, Maljkovic participated in the artists' residency program of the Rijksakademie, Amsterdam. He has had solo exhibitions at Museo Reina Sofia, Madrid, Whitechapel Gallery, London, and the Museum of Contemporary Art, Zagreb, among other venues. He has participated in numerous international group exhibitions, including the 29th Sao Paolo Biennial, the 11th Istanbul Biennial, and the 5th Berlin Biennial. Maljkovic's solo exhibition at Secession, Vienna, is on view December 2, 2011 to February 5, 2012. 

Lucy Skaer was born in Cambridge, England, in 1975, and lives in New York. Skaer works primarily in sculpture, painting, film, and installation works. She studied at the Glasgow School of Art and has had solo exhibitions at the Fruitmarket Gallery, Edinburgh, Scotland, Kunsthalle Basel, Basel, Switzerland, and Chisenhale Gallery, London, among other venues. She has been included in numerous international exhibitions, including the 52nd Venice Biennale, the 5th Berlin Biennale, and recent group exhibitions at the Carnegie Museum of Art, Pittsburg, PA, Centre Georges Pompidou, Paris, France, and K21 Dusseldorf, Germany. Skaer was a Turner Prize finalist in 2009. 

[Image: David Maljkovic &quot;Temporary Projections&quot; (2011) Courtesy the Artist and Georg Kargl Fine Arts, Vienna.]]]></Description>
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  <Karma>1.36787</Karma>
  <Price free="0">Suggested donation: $5</Price>
  <DateStart>2012-01-15</DateStart>
  <DateEnd>2012-03-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-15" start="17:00:00" end="19:00:00">Opening Reception</Party>
 <DaysBeforeEnd>39</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747197</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/7A5A" href="http://www.nyartbeat.com/event/2012/7A5A">
  <Name>Shalom Neuman and Terrenceo &quot;Racks On Racks and Urban ARTifacts&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/05597C6F">
    <Name>Lambert Fine Arts</Name>
    <Type>Gallery</Type>
    <Address>57 Stanton St., New York, NY 10002</Address>
    <Phone>212-353-2787</Phone>
    <Fax></Fax>
    <Access>Between Forsyth and Eldridge Sts., Subway: F to 2nd Avenue, JMZ to Essex St or D to Grand</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>20:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Lambert Fine Arts presents &quot;Racks On Racks and Urban ARTifacts&quot; highlighting the works of Shalom Neuman and Terrenceo, two of the most prolific and original contemporary artists who expose the social issues that an egocentric society saturated with apathy has long deemed as acceptable. Both artists take a multi-sensory and multi-media approach to boldly challenge our assumptions about contemporary culture and life in the digital age.  
 
Shalom Neuman has been called a &quot;phenomenon&quot; by both Robert Morgan and Donald Kuspit, while his Fusion Art is described by critic Lester Strong as &quot;Combining color, motion, and sound into a multidisciplinary, multisensory extravaganza [that] reflects and comments on a contemporary world he sees as seriously out of joint and in need of repair.&quot;  At Lambert Fine Arts will be the Amerika series, multi-media and interactive portraits made from found objects, sound recordings, motion sensors and toys &quot;constructed from the detritus of our society, they reach beyond the individual to comment on a culture where rampant consumerism threatens to engulf us all.&quot;
 
Terrenceo refers to his bodies of work as Contemporary New Realism and Digital Primitive. Using a complex layering of collage, assorted materials, and distinctive brushwork, Terrenceo updates Nouveau Réalisme and takes a satirical approach in his juxtaposition of iconic images from popular culture to develop compelling and provocative social commentary. His use of found objects and digital manifestations from contemporary life express his response to being submerged in a highly materialistic and technologically advanced world, which we are forced to encounter with no regard for the implications, misinterpretations, and social constructions that form the foundation for entire belief systems.
 
&quot;The work of both artists reflect lives of perseverance and triumph despite conflict, forced displacement, injustice, and racism, and I think Shalom and Terrenceo have extremely significant and timeless things to say about popular culture and modern life,&quot; states Executive Director Marc Lambert.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7A5A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7A5A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7A5A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721779</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/7F14" href="http://www.nyartbeat.com/event/2012/7F14">
  <Name>&quot;New Materials, New Approaches&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/92999F1B">
    <Name>D. Wigmore Fine Art</Name>
    <Type>Gallery</Type>
    <Address>730 5th Ave., Suite 602, New York NY 10019</Address>
    <Phone>212-581-1657</Phone>
    <Fax>212-581-3909</Fax>
    <Access>Between 56th and 57th St. Subway: N/R/W to 5th Ave., F to 57th St.or E/V to 5th Ave./53rd St.</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 10:00, saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The gallery is pleased to announce &quot;New Materials, New Approaches,&quot; an exhibition of 1960s-1970s works in plastics by Julian Stanczak, Mon Levinson, and Leroy Lamis. The exhibition focuses on the extension through plastic of abstract investigations of color, light, and line demonstrated in Lamis’s sculptures, Levinson’s constructions, and Stanczak’s unique series of oil on plastic works created for a solo exhibition at the Corcoran Gallery of Art in 1972.

Over the past five years, the gallery has researched artists investigating new materials in the 1960s, a period that saw both enthusiasm for technology brought on by the Space Race and a renewed interest in the Constructivist and Bauhaus artists of the 1920s. For the exhibition &quot;New Materials, New Approaches,&quot; Mon Levinson (b.1926), Leroy Lamis (1925-2010), and Julian Stanczak (b.1930) were selected as each artist re-purposed industrial materials in innovative ways to create art that rewarded the engaged viewer with shifting imagery of line, color, and reflection. Plastic was first incorporated into art in Europe by the Constructivist and Bauhaus artists of the 1920s. In the United States, Alexander Calder and Charles Biederman incorporated plastic into their sculpture and reliefs in the 1930s. The exploration of plastic in art went into a hiatus through the war years. It was not until the 1960s that artists again looked to plastic for its malleability as well as its smooth surface, luminosity, and ability to be opaque, clear, or colored. By the end of the decade artists working in plastic received attention in focused museum exhibitions like A Plastic Presence at New York’s Jewish Museum in 1969.

[Image: Leroy Lamis &quot;Construction No. 110&quot; yellow, green, blue, and white Plexiglas construction 26 3/8 x 13 1/2 x 7 3/4 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/7F14-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7F14-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/7F14-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-04-28</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-08" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>79</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762639</Latitude>
  <Longitude>-73.974228</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8168" href="http://www.nyartbeat.com/event/2012/8168">
  <Name>&quot;The American Hand: Sculpture from Three Centuries&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/5C079AF0">
    <Name>Babcock Galleries</Name>
    <Type>Gallery</Type>
    <Address>724 5th Ave., New York, NY  10019</Address>
    <Phone>212-767-1852</Phone>
    <Fax></Fax>
    <Access>Between 56th and 57th St. Subway: F at 57th Street or E/V at 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>17:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="1" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Saturday by appointment only. </ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[This exhibition is carefully curated from the gallery's holdings and includes works by such notable masters as Hiram Powers, Augustus Saint-Gaudens, William Zorach, Seymour Lipton and Dorothy Dehner.

&quot;Stories that attend the art we encounter are often as vivid as the art itself,&quot; observes John Driscoll in his introduction to the exhibition's full-color catalogue.  The American Hand celebrates some of the greatest achievements of American sculptors and some of the great stories that accrue when works of art subsequently pass from hand to hand, collection to collection. &quot;A work of art has its own life through time, through various additional hands, through generations…when the artist's work is done, the life of the work of art begins....”

Among the two dozen sculptures that compose this exhibition are Augustus Saint-Gauden's iconic 1899 &quot;Diana of the Tower,&quot; which was originally modeled to stride atop Stanford White's new Madison Square Garden; Theodore Baur's poignant &quot;The Buffalo Hunt,&quot; an 1876 commission for the United States Centennial Celebration; William Zorach's introspective female nude, &quot;Young Woman,&quot; 1956 that Marilyn Monroe gave to her husband, Arthur Miller, as a Hanukkah gift; and the haunting Felix Weihs de Weldon BUST OF JOHN F. KENNEDY, commissioned by Mrs. Kennedy in the spring of 1963 a few months before his tragic assassination.

[Image: Paul Howard Manship &quot;Young Minerva (Marietta)&quot; (1911) bronze 13 x 6.5 x 6.5 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8168-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8168-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8168-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-16</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>36</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762547</Latitude>
  <Longitude>-73.974473</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8567" href="http://www.nyartbeat.com/event/2012/8567">
  <Name>Madeleine Gekiere Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6AF88F88">
    <Name>Fred Torres Collaborations</Name>
    <Type>Gallery</Type>
    <Address>527 W 29th St., New York, NY 10001</Address>
    <Phone>212-244-5074</Phone>
    <Fax>212-244-5075</Fax>
    <Access>Between 10th and 11th Ave. Subway: A/C/E to 34th Street, C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Fred Torres Collaborations presents a survey of drawings, paintings, and assemblages by Madeleine Gekiere. This is Gekiere’s first solo exhibition with the gallery. 

The exhibition features a selection of over 50 years of Gekiere’s extensive body of work. Throughout Gekiere’s oeuvre, whether working in painting, drawing, or other mediums, there is a constant interest in form, memory, emotion, and text. Many of the early drawings and paintings explore modernist abstraction and feature an earthy palette of blacks, browns and tans. Later Gekiere began to experiment with assemblage, using everyday found objects including light bulbs, wood handles, toys, hosiery, and books to create witty juxtapositions. Like many of Gekiere’s works, her assemblages imply connections to figurative forms, which relate to earlier works. Gekiere’s “book assemblages” and “hieroglyphic” works demonstrate her interest in text, language, and memory. Throughout her career, Gekiere has written short stories and published many illustrated books, whereby text and book covers naturally find their place in a significant portion of her fine art work. 

Madeleine Gekiere was born in Switzerland in 1919. She lives and works in New York. Gekiere studied at NYU, Brooklyn Museum School, and the Art Students League. Gekiere began exhibiting in the 1950’s with Babcock Gallery, and continued to show there through the 1970’s. Between 1953 and 1963, her books were named five times by the New York Times as one of the “Ten Best Illustrated Books of the Year.” In the 1970’s and 1980’s her experiments in over 20 films screened extensively throughout the U.S. More recently, in the fall of 2011 Anthology Film Archives screened several of her short films including the1980 film Chewing. In addition to Babcock Gallery, she has exhibited at Forum Gallery, New York University, and Galerie Wolfsberg, Zurich. Her work is in numerous museum collections, including the Art Gallery of Ontario, the Baltimore Museum of Art, the Brooklyn Museum of Art, the Cleveland Museum of Art, the Dallas Museum of Fine Arts, and the San Francisco Museum of Art]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8567-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8567-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8567-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751972</Latitude>
  <Longitude>-74.002417</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/86D1" href="http://www.nyartbeat.com/event/2012/86D1">
  <Name>&quot;Phases&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F36F8707">
    <Name>Wallspace</Name>
    <Type>Gallery</Type>
    <Address>619 W 27th St., New York, NY 10001 </Address>
    <Phone>212-594-9478</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/86D1-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/86D1-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/86D1-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751522</Latitude>
  <Longitude>-74.005594</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8B36" href="http://www.nyartbeat.com/event/2012/8B36">
  <Name>Noriyuki Haraguchi &quot;Works from Yokosuka&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/80D0C828">
    <Name>McCaffrey Fine Art</Name>
    <Type>Gallery</Type>
    <Address>23 E 67th St., New York, NY 10065</Address>
    <Phone>212-988-2200</Phone>
    <Fax>212-988-2250</Fax>
    <Access>Between Madison Ave. and 5th Ave.  Subway: 6 to 68th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[McCaffrey Fine Art presenst its first solo exhibition of the work of Noriyuki Haraguchi. On the occasion of this exhibition, &quot;Works from Yokosuka&quot;, the artist has constructed a full-scale replica of the tail of a US Navy A-7E Corsair II jet, created from raw stretched canvas, aluminum, and plywood. This monumental sculpture will be shown in conjunction with a selection of works that he created between 1963 and 1972.

Noriyuki Haraguchi first came to prominence in the late 1960s, developing paintings and sculptures that engaged with cultural and environmental issues through a post-minimalist vocabulary. The artist was born in 1946 and raised in the town of Yokosuka, the home port of the US Navy's 7th Fleet since the end of hostilities in 1945. Yokosuka's large sailor population has made it a flash point in cultural relations between Japan and the United States. It was also the primary Japanese naval base from which the Vietnam War was fought, which incited antiwar and pro-pacifist protests in Japan.

In November 1968, while Haraguchi was still a student at Nihon University, Tokyo, riots broke out at the university in protest against the war in Vietnam, the presence of US military on Japanese soil, and the Japanese-American security treaty (ANPO agreement). An encounter with the exhaust vent and tail of a US Navy jet fighter being transported onto the Yokosuka Navy Base one evening in late 1968 proved decisive in cementing Haraguchi's politically infused minimalist aesthetic and inspired his first magnum opus, A-4E Skyhawk (1969). Constructed behind the barricades at Nihon University amid the riots, Haraguchi handcrafted a full-scale plywood reproduction of the tail of the aircraft. He also completed a series of monochrome white Air Pipe constructions (1968–69) of stretched canvas on plywood armatures that resemble jet engine exhausts. The A-4E Skyhawk was exhibited in 1969 in Tokyo before being returned to Nihon University, where it was subsequently destroyed by riot police and the university authorities.

The A-7 E Corsair II jet tail is the fifth sculpture of Vietnam-era American warplanes that Haraguchi has completed since 1968–69. In the exhibition, it will be accompanied by two examples from the Air Pipe series (1969), along with a lacquered paper battleship sculpture from the Ship series (1963–65) and Tsumu 147 (1966), a life-size rendition of the doors of a freight wagon. These works evince an early and acute awareness of the aesthetics of militarism and heavy industry that continues to inspire Haraguchi's distinctive body of work. 

Haraguchi's work first came to prominence in the West in 1977 at Documenta, where his Oil Pool sculpture attracted a great deal of attention. Since then, his work has only occasionally been seen in the United States and Europe, most notably at the Lenbachhaus in Munich in 2001. Retrospective exhibitions of his work have recently been held at BankART, Yokohama, Japan, in 2009, and the Yokosuka Museum of Art in 2011. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8B36-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8B36-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8B36-170" width="170" />
  <Karma>3.47874</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.769111</Latitude>
  <Longitude>-73.968133</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8C76" href="http://www.nyartbeat.com/event/2012/8C76">
  <Name>&quot;Remarkable Treasures:  Folk Art from the Allan Stone Collection&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/CAC9473D">
    <Name>Allan Stone Gallery</Name>
    <Type>Gallery</Type>
    <Address>5 E 82nd St., New York, NY </Address>
    <Phone>212-987-4997</Phone>
    <Fax>212-987-1655</Fax>
    <Access>Between 5th and Madison Aves. Subway: 4/5/6 to 86th Street or 6 to 96th Street.</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote>Summer Mon - Thu 10 - 6, Fri 10 - 4. Closed in August.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[Allan Stone Gallery presents &quot;Remarkable Treasures: Folk Art from the Allan Stone Collection&quot;, the gallery’s second exhibition at its new East 82nd Street location. From primitivist painting, antique carousel animals, and cigar store figures, to weather vanes, store signs and prison art, this exhibition gathers over twenty five rare, prized, whimsical and bizarre folk art treasures from the collection of legendary art dealer and collector Allan Stone. Though he is most recognized for handling New York School artists such as Willem de Kooning and Joseph Cornell, Allan Stone had a covetous appetite for any aesthetic object that manifests formal vitality, visceral intrigue, unself-conscious conviction and personal vision. Combined with passionate connoisseurship, this appetite brought together the extraordinarily rich cross section of folk art and Americana from which this exhibition is drawn.

Many of the works in this exhibition were selected for their significance in the field of folk art and others for their universal accessibility or visceral impact. Most of the pieces on view were made with a utilitarian purpose that became illuminated by formal expression through the crafting process, such as a chair made of beer cans, a weather vane in the form of a rooster or an elliptical clock decorated with one giant eye. Several non-utilitarian objects in the show touch on the facetious and bizarre, such as a cluster of ghoulish figures made from gnarled roots or a small pine cone figure wearing a tiny leather jacket. Paintings in the exhibition range from nautical subjects and primitive figuration to invented fantasy landscapes.

Some of the highlights include an exceptional circa 1880 carved and painted pine “Turk” cigar store figure attributed to Samuel Robb from New York, an antique carousel camel with its original bridle still attached, a peculiarly lifelike bust of Henry Clay, and a celebrated work of “prison art” from the collection depicting a carved polychrome gorilla in stiff contraposto. On the lyrical side is an anonymous abstract figure of a man poised in a serene dance-like gesture, carved from wood in a manner reminiscent of Nadelman or early Brancusi. The beckoning sweep of his arm and the gently nuanced surface of this work fittingly convey the élan permeating the entire Allan Stone collection.

[Image: &quot;Carousel Animal in the form of a Camel&quot; painted wood, steel, leather, and glass 36 x 9 x 48 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8C76-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8C76-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8C76-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="17:00:00" end="19:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.778809</Latitude>
  <Longitude>-73.96138</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8DA4" href="http://www.nyartbeat.com/event/2012/8DA4">
  <Name>&quot;Swept Away: Dust, Ashes, and Dirt in Contemporary Art and Design&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EB18574C">
    <Name>Museum of Arts &amp; Design</Name>
    <Type>Museum</Type>
    <Address>2 Columbus Circle, New York, NY 10019</Address>
    <Phone>212-299-7777</Phone>
    <Fax></Fax>
    <Access>At 58th St. and 8th Ave.  Subway: B/C/D to 59th Street/Columbus Circle</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>thursdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>In the Summer opened on Tuesdays.  Check with the venue for details.</ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[MAD has explored the intersection of traditional or unusual materials and techniques as viewed through the lens of contemporary art and design in a series of exhibitions that include &quot;Radical Lace and Subversive Knitting;&quot; &quot;Second Lives: Remixing the Ordinary;&quot; &quot;Slash: Paper Under the Knife;&quot; &quot;Dead or Alive: Nature Becomes Art;&quot; and &quot;Otherworldly: Optical Delusions and Small Realities.&quot;

The next investigation into unusual mediums features an international group of artists whose major materials are dust, ashes, dirt, and sand. &quot;Swept Away: Dust, Ashes, and Dirt in Contemporary Art and Design&quot; will highlight works that deal with issues such as the ephemeral nature of art and life, the quality and content of memory, issues of loss and disintegration, and the detritus of human existence. Sculptures made from ash by Chinese artist Zhang Huan, life-size sculptures of unfired dirt by American artist James Croak, and works created from city smog by American artist Kim Abeles, among others, illustrate the transformative potential of humble, overlooked, and discarded materials.

[Image: Phoebe Cummings &quot;Flora&quot; (2010) unfired clay Photo: Sylvain Deleu]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8DA4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8DA4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8DA4-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $15, Students and Seniors $12, Members and Children under 12 Free, Thursdays 6 - 9pm Pay What You Wish</Price>
  <DateStart>2012-02-07</DateStart>
  <DateEnd>2012-08-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>185</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767589</Latitude>
  <Longitude>-73.982067</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8E65" href="http://www.nyartbeat.com/event/2012/8E65">
  <Name>Mat Collishaw Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/545C297B">
    <Name>Tanya Bonakdar Gallery</Name>
    <Type>Gallery</Type>
    <Address>521 W 21st St, New York, NY 10011</Address>
    <Phone>212-414-4144</Phone>
    <Fax>212-414-1535</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_21">Chelsea 21st</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[In Gallery 2, Mat Collishaw creates installation and photo-based works that explore the impact of disturbing subject matter presented through formally stunning imagery.  New photographs from both Collishaw's &quot;Insecticide&quot; and &quot;Last Meal on Death Row - Texas&quot; series will compliment a large multi-media installation and sculptures.  Mining the fertile ground between oppositional themes: reality versus reproduction, observation versus exploitation, seduction versus repulsion, Collishaw presents works that captivate the viewer in their seemingly contradictory ability to incorporate beauty and horror in equal measure.  ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8E65-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8E65-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8E65-170" width="170" />
  <Karma>1.0061</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746647</Latitude>
  <Longitude>-74.005653</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/8FD6" href="http://www.nyartbeat.com/event/2012/8FD6">
  <Name>Ned Colclough &quot;Winter Arrangement&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/95ACB24C">
    <Name>Nicelle Beauchene Gallery</Name>
    <Type>Gallery</Type>
    <Address>21 Orchard St., New York, NY 10002</Address>
    <Phone>212-375-8043</Phone>
    <Fax></Fax>
    <Access>Between Canal and Hester Sts.  Subway: F to East Broadway or D/B to Grand Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Nicelle Beauchene Gallery presents &quot;Winter Arrangement&quot;, the first New York solo exhibition by Ned Colclough.

Using Bauhaus theater, Ikebana and Arte Povera as variant points of departure in his work, Colclough’s sculptural assemblages encompass a visual style where formalism, minimalism and neomodernism are repositioned into abstract mediations. Balancing and integrating his sculptural elements, a vocabulary that includes found wood, stone, rope, and plaster, into orchestrated compositions, Colclough lends a lyrical and poetic relationship to both material and object.

Colclough’s work pivots on the use of spontaneity within his practice as he engages chance and coincidence through a number of ostensibly slight tricks that appear to suspend laws both physical and theoretical. The contrast presented in his sculptures between the strength of the parts and the fragility of the whole, evokes a spatial tension and material appropriation first referenced in post-minimalism and conceptual art. His architectural metaphors and the rhythmic play between the formal qualities of texture, surface, scale and form enriches his expansive and vanguard compositions with a subtle and transcendent purity.

Ned Colclough received his BFA from the NYSCC School of Art and Design in Alfred, NY.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/8FD6-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8FD6-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/8FD6-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-08" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715389</Latitude>
  <Longitude>-73.991825</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/90F8" href="http://www.nyartbeat.com/event/2012/90F8">
  <Name>Duro Olowu &quot;Material&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/B8A7CACA">
    <Name>Salon 94 Freemans</Name>
    <Type>Gallery</Type>
    <Address>1 Freeman Alley, New York, NY 10002</Address>
    <Phone>212-529-7400</Phone>
    <Fax>212-529-7401</Fax>
    <Access>Between Bowery and Christie St., off Rivington St. Subway: F/V to 2nd Ave. or J/M/Z to Bowery Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>tuesdays openinghour 13:00, </ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[London-based fashion designer Duro Olowu will present a show and pop-up shop of fashion and art at Salon 94’s Freeman Alley Gallery. The show will present a group of limited edition fashion and accessory designs from Duro's Spring 2012 collection as well as a selection of vintage and contemporary photography, textiles, contemporary art, furniture, music, books and objets trouvés.
Duro has long curated, in his London store in Masons Yard Saint James, a diverse assemblage of &quot;things&quot; that have captivated and inspired him and his work. Clothing created by Duro for the exhibition will include intricately draped bias dresses with ruffle details, guipure lace jackets and paneled tail coats, collage bib sheaths and gilets, corseted and full skirted print dresses, billowing chiffon gowns and skirts, and hand made footwear and will be featured alongside commissioned pieces by Paris-based jeweler Taher Chemirik, New York-based artist Mathew Ronay and paintings by Katherine Bernhardt.
Installed in a mise-en-scène featuring works by Juergen Teller, including images from collaborations with Duro, vintage photography by Malian photographer Hamidou Maiga and designer Carlo Mollino, a large photograph by Laurie Simmons, illustrations by Bella Foster, woven canvases by New York artist Tony Cox, prints by Suzanne Wenger, drawings by Lorna Simpson, furniture and objects by Martino Gamper and Maria Pergay, sculptures by Ghanaian artist Paa Joe and London based Francis Upritchard, ceramics by Matthias Merkel Hess, vintage West African textiles and rare fabrics from couture fabric makers including Abraham of Switzerland, along with work by Kara Hamilton, Jackie Nickerson, Ludovica Gioscia, and Philip Kwame Apagya. Olowu adds &quot; My work, like my eye, is certainly international in its aesthetic, offbeat yet focused. As such, I am always open to the surprise of the new, the technique and skill of the past and the ability of fashion and art to challenge preconceived ideas of taste and culture.&quot;
After training in law, Duro Olowu turned to a career in fashion, launching his label in 2004. In 2005 the British Fashion Council honored him with the prestigious New Designer of the Year Award. Last year, he won the Best Designer Award at the African Fashion Awards and was a finalist for the Swiss Textiles Award. Alluring silhouettes, sharp tailoring, original prints and vintage textiles in combinations are Duro’s signature, inspired by his Jamaican-Nigerian heritage and London upbringing, making him a favorite among fashion insiders.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/90F8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/90F8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/90F8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-08</DateStart>
  <DateEnd>2012-03-04</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-08" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>24</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.721467</Latitude>
  <Longitude>-73.992747</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/929F" href="http://www.nyartbeat.com/event/2012/929F">
  <Name>Darren Bader &quot;Images&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CA14E641">
    <Name>MOMA PS1</Name>
    <Type>Museum</Type>
    <Address>22-25 Jackson Ave., Long Island City, NY 11101</Address>
    <Phone>718-784-2084</Phone>
    <Fax>718-482-9454</Fax>
    <Access>Corner of 46th Ave.  Subway: E/V to 23rd St./Ely Avenue, 7 to 45th Road, G to 21st Street</Access>
    <Area areaId="queens">Queens</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="1" wed="1" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[This is a show of sculptures. 

It also hopes to create new homes for animals in shelters. And to raise funds to help protect wild animal species.

Over the past decade, the relationships between culture and those who produce and consume it has changed radically. Art has not been excepted from these shifts. As art has become more commodified, subject to re-performance, pressed into new contexts by curators, and recycled by other artists, conventional notions of objecthood, authorship and ownership have been evolving. Darren Bader (American, b. 1978) works with these expanding boundaries of art’s use and circulation. Often using culture he appropriates from a range of media—film, music, text, digital images and work made by other visual artists—Bader treats such material as “readymades” that he presents democratically within the framework of his exhibitions alongside found objects like fruits, furniture, and sometimes live animals. Working with a lyrical absurdity in the space between sculpture, writing and curating, the artist humorously complicates the hierarchies that underscore the economies of cultural production and reception.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/929F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/929F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/929F-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested donations: Adults $10, Students and Seniors $5, MoMA members and with MoMA admission tickets Free</Price>
  <DateStart>2012-01-29</DateStart>
  <DateEnd>2012-05-14</DateEnd>
  <ScheduleNote>Salad will be served on Sundays starting at 2 PM. </ScheduleNote>
 <Party type="1" date="2012-01-29" start="12:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>95</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.74565</Latitude>
  <Longitude>-73.946178</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9542" href="http://www.nyartbeat.com/event/2012/9542">
  <Name>&quot;The Bricoleurs&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/8887592D">
    <Name>BRIC Rotunda Gallery</Name>
    <Type>Gallery</Type>
    <Address>33 Clinton St., Brooklyn, NY 11201</Address>
    <Phone>718-683-5621</Phone>
    <Fax>718-488-0609</Fax>
    <Access>Between Tillary and Pierrepont St. Subway: A/C at High Street, 2/3/4/5/M/R trains at Court Street/Borough Hall</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Hours during exhibition only</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Prints</Media>
  <Media>2D: Other</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[BRIC Arts | Media | Bklyn presents The Bricoleurs, an exhibition at BRIC Rotunda Gallery featuring a range of Brooklyn artists who embrace the practice of bricolage and construct visual works from discrepant elements, creating new forms and imagery. Curated by Christian Fuller and Risa Shoup.

All artists in the show were selected from BRIC’s Contemporary Artists Registry, the oldest registry of visual artists in Brooklyn with more than 16,000 digital submissions from 800 artists. Founded in 1983, the Registry is open to artists living or working in Brooklyn; visit registry.bricartsmedia.org to view a range of artists’ work.

Bricolage is a term used in several disciplines to refer to the construction or creation of a work from a diverse range of sometimes seemingly disparate  things; a person who engages in bricolage is called a bricoleur. The range of work in this show includes: video, painting, collage, assemblage, sculpture and digital printing.

According to the curators: “We have chosen artists for the exhibition who pull together styles and materials that might otherwise appear disparate and unattractive save for the artist’s ability to combine them into one cogent, integral whole… With The Bricoleurs, we turn our analytical gaze more to the practice of creating bricolage less than the product, the bricolage itself.”]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9542-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9542-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9542-170" width="170" />
  <Karma>1.02919</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-25</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-25" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.695328</Latitude>
  <Longitude>-73.991797</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9A7B" href="http://www.nyartbeat.com/event/2012/9A7B">
  <Name>&quot;New Selections: South Asia&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/1C82646F">
    <Name>Thomas Erben Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th St., 4 Fl., New York, NY 10001</Address>
    <Phone>212-645-8701</Phone>
    <Fax>212-645-9630</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to 34th Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[Thomas Erben Gallery presents work by a selection of artists related to the larger South Asian field, whose wide variety of concerns, media, and practices have recently garnered our attention.

Ehsan ul Haq’s (b. 1983, Lahore, Pakistan) sculptures, installations and videos are carefully considered arrangements of simple elements like rubble, cinderblocks, furniture, houseplants, light bulbs and, occasionally, live animals. His work transcends the symbolic and avoids flippancy, creating empathic poetry from everyday objects, which he organizes into flawed systems. The photographs included in the show document studio installations. One features a donkey, whose ability to roam is hampered by a tethered weight; the other, a rooster tied by the ankle to a feed-covered floor, resulting in a perfect circle of empty floor space over time. 

Ul Haq received his BFA from the Beacon House National University, Lahore (2008). Most notably, his work was included in Resemble/Reassemble, Devi Art Foundation, New Delhi (2010) curated by Rashid Rana. He had solo shows with Rohtas (2009) and the National College of Art Gallery (2010), both in Lahore, and has been included in exhibitions in the UK, Pakistan, and Germany.

The primary concern of interdisciplinary artist Sreshta Rit Premnath (b. 1979, Bangalore, India) is how “political and economic power produces [an] unequal distribution of knowledge” and “how paradigms of power produce and constitute our relationship to objects and events in the world.” Rhizome – a photo series of manipulated roots, linked together with crimped metal inserts - focuses on the ginger rhizome, a household cooking ingredient with locally well know medicinal uses in India and China, whose genes have been patented by pharmaceutical corporations for commercial use. The ways in which systems of knowledge have been, and continue to be colonized is an underlying theme.

Premnath, founder and editor of Shifter Magazine, is based in New York. He completed his BFA at The Cleveland Institute of Art (2003), his MFA at Bard College (2006), and attended the Whitney Independent Study Program (2008). Solo shows include: Galerie Nordenhake, Berlin (2011) and Gallery SKE, Bangalore (2004, 2008, 2010), which also presented his work at Statements, Art Basel (2010).

Schandra Singh’s (b. 1977, Suffern, NY) saturated, large-scale oil paintings executed on linen, feature lounging tourists enclosed in their own watery paradise. Built of faceted shapes as if their muscles and fascia were exposed, her figures threaten to disintegrate into the surrounding, equally fractured pool water. Singh’s work, incongruously full of buzz and anxiety, exposes an agitation resulting from the psychological, and subsequently political, implications of leisure in an era of global crisis.

Singh completed her BFA (1999) at the Rhode Island School of Design and went on to receive her MFA in Painting (2006) at Yale. She had solo exhibitions at Nature Morte, Berlin (2011), Bose Pacia, New York (2010), Galerie Bertrand &amp; Gruner, Geneva (2008) and has shown internationally, most notably in The Empire Strikes Back, Saatchi Gallery, London (2010).

Vinod Balak (b. 1982, Kerala, India) are excessive in terms of aesthetics as well as social norms. Constructing his social allegories in the tilted, flattened space of miniature painting, Balak’s human and/or animal protagonists are rendered in - and surrounded by - a brash, synthetic palette and jarring patterns. Loud yet static, the classical compositions allow for the hedonist impulse of contemporary consumerism to be perceived on a more reflective level.

Balak received his BFA from The Government College of Fine Arts, Thrissur, Kerala (2007) and his MFA from the S.N. School of Fine Arts, Hyderabad (2009). His work was included in Roots in the Air, San Jose Museum of Art, CA (2011) and a solo-exhibition was held at Galerie Mirchandani + Steinruecke, Mumbai (2010). He currently lives and works in Hyderabad.

Koshal Hamal’s (b. 1988, Mugu, Nepal) works are engaged in a synthesis of appropriation, combining Western art with the historical format of miniature painting. Working in oil, he copies Western art historical works (and their gilded frames), in diminutive size, onto larger scale primed canvases. He grants these works the specialness of singularity, while simultaneously reevaluating and taking ownership – conceptually as well as culturally – through the act of appropriation and miniaturization.

Hamal received his BFA from Beaconhouse National University, Lahore (2011) on a South Asia Foundation Scholarship. His graduating exhibition was reviewed by Atteqa Ali: “The star of the show is a Nepalese artist Koshal Hamal. […] His paintings examine complicated concepts; however, Koshal does not reduce the significance of the form. Instead, his visually compelling technique is a kind of foil for heavy ideas. It’s a powerful trait found in the most interesting art made in Pakistan.” Hamal lives and works in Kathmandu, Nepal.

Faiza Butt (b. 1973, Lahore, Pakistan) composes her midsize drawings from collages of journalistic, personal and advertising images, touching on issues of cross-cultural integration, including sex/gender, religion, and aesthetics. She works slowly, incrementally growing imagery through innumerable colored felt-tip-pen dots on Mylar, which are then exhibited backlit, akin to advertisements. At the core of her practice is the hybridization of media – for example, a meticulous handmade drawing resembles a coarse offset print of a photographic image, glowing in a public ad display.

Faiza Butt received her BFA from the National College of Arts (1993) and her MFA from the Slade School of Art (1999), both in London. Her work was exhibited in Hanging Fire: Contemporary Art from Pakistan, Asia Society, New York (2009) as well as at venues in the UK, France, Hong Kong, Dubai, Pakistan, and India. Solo exhibitions include: Grosvenor Vadhera Gallery, in London (2010) and at Art Dubai (2011); Rohtas Gallery, Lahore (2009, 2008, 1996); Green Cardamom, London (2008). She lives and works in London.

The densely patterned, abstract paintings of Anoka Faruqee (b. 1972, Ann Arbor, MI) are composed of tripods and asterisks. Her chromatically gradated, hand painted surfaces recall warped pixelated spaces, Islamic tile geometry, and abstract color-fields. Adhering to a diligently methodical process, Faruqee has supplanted spontaneity and dramatic gesture through controlled repetition, thus finding self-expression within the potential of geometric space.

Faruqee received her BA from Yale (1994) and her MFA from Tyler School of Art (1997). She attended the Whitney Independent Study Program, the Skowhegan School of Art, and the PS1 National Studio Program. Her work has been exhibited at Hosfelt Gallery, PS1, Max Protetch and Apexart, among others.

Hasan Elahi (b. 1972, Bangladesh) is perhaps best known for his ongoing FBI tracking project. Ten years ago, Elahi was detained by the FBI for suspicion of housing explosives in a Florida storage unit. After an exhaustive investigation, the agents were convinced of their error. To avoid future “complications,” Elahi has since documented every detail of his life by providing a real time map with financial data, communication records and transportation logs. In our exhibition, a photograph of airplane meals demonstrates his interest in the public and investigative value of an overwhelming amount of personal information.

Elahi is currently Associate Professor of Art at the University of Maryland as Director of Digital Cultures and Creativity. Over the past years, his work has been included in exhibitions at venues such as SITE Santa Fe, Centre Georges Pompidou, Sundance Film Festival, Kassel Kulturbahnhof, The Hermitage, and at the Venice Biennale.

[Image: Ehsan ul Haq]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9A7B-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9A7B-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9A7B-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-10</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-10" start="18:00:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749853</Latitude>
  <Longitude>-74.003767</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9CDF" href="http://www.nyartbeat.com/event/2012/9CDF">
  <Name>&quot;Hey Beautiful!&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E76E578F">
    <Name>Amos Eno Gallery</Name>
    <Type>Gallery</Type>
    <Address>111 Front St., #202, Brooklyn, NY 11201</Address>
    <Phone>718-237-3001</Phone>
    <Fax></Fax>
    <Access>Between Washington and Adams Sts. Subway: F to York Street, A/C to High Street</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Beauty. There is perhaps no concept more closely associated with art in the popular imagination. But beauty has been having a rough time lately. Successive avant-garde movements and each corresponding “anti-art” gesture have deposed the belle of the ball. The art world did not drive out beauty directly; rather it got rid of her partner, the ugly. Decaying ruins became Romantic; banal fixtures became Culture; Film du Soleil made the burned out wasteland a magical counter-utopia. By aestheticizing and canonizing the Gothic, the Industrial, the Abject, and the Uncanny, the art world turned “ugly” into “interesting”. And where did that leave beauty? No longer the opposite of ugly, beauty became the opposite of relevant. Never one to dance alone, beauty sat on the sidelines. Someone once offered her a Sublime corsage; it lifted her spirit, but provided no gladness to the senses. 

This exhibition inquires into the role of beauty in art now. Can beauty retake the aspirational zenith of art? Or does it function as cultural décor and marketable commodity? Is art today merely designed or aesthetically purposive? These works play with, against, and for beauty, asking us to consider whether beauty can be reformed. Even celebrated. Is beauty back? ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9CDF-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9CDF-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9CDF-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.702694</Latitude>
  <Longitude>-73.988936</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9EC8" href="http://www.nyartbeat.com/event/2012/9EC8">
  <Name>Carlyle Chaudruc &quot;Ecotone&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/3DFCE83B">
    <Name>Ceres Gallery</Name>
    <Type>Gallery</Type>
    <Address>547 W 27th St., Suite 201, New York, NY 10001</Address>
    <Phone>212-947-6100</Phone>
    <Fax>212-947-6100</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote>August 9-August 31, 2009   Gallery Closed for the summer break, to reopen September 1, 2009.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[This exhibit of contemporary nature painting and sculpture explores the zone where the forest meets the clearing.   Ecotone examines human shelter at the edge of the forest through imagery of tee pees, unpeeled logs, and abstracted leaves.  Paintings of old growth oaks pay homage to the trees felled in making homes for people on the margin of woods.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9EC8-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9EC8-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/9EC8-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750694</Latitude>
  <Longitude>-74.003639</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/9FFE" href="http://www.nyartbeat.com/event/2012/9FFE">
  <Name>Kurt Tong &quot;In Case It Rains in Heaven&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/34281FAF">
    <Name>Jen Bekman Gallery</Name>
    <Type>Gallery</Type>
    <Address>6 Spring St., New York, NY 10012</Address>
    <Phone>212-219-0166</Phone>
    <Fax></Fax>
    <Access>Between Elizabeth St. and Bowery.  Subway: 6 to Spring Street, N/R to Prince St., F/V to 2nd Avenue, B/D/F/Q to Broadway/Lafayette or J/M to Bowery</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Crafts</Media>
  <Description><![CDATA[Traditionally, many Chinese believe that when a person dies, he leaves with no earthly possessions and it's up to their descendants to provide for them in their afterlife until reincarnation.

Joss paper, made from coarse bamboo paper, is burnt as offerings for the dead.  Depending on the region, Joss paper is decorated with seals, stamps, silver or gold paint.  These are often folded into the shape of gold or silver ingots.

Plain Joss paper is offered to newly deceased spirits and spirits of the unknown.  Silver is given to ancestral spirits as well as spirits of local deities.  Gold spirit money is given to higher gods such as the Jade Emperor.  Some believe that the money will enable their ancestors to live lavishly in the afterlife.  Others believe that the money is used to bribe the guards and the Black Judge of the afterlife in order to escape early.  More contemporary varieties of Joss paper include Hell Bank Notes and paper credit cards.

In the last 50 years, more and more elaborate items have been made out of paper as offerings for the dead.  Cars, servants and houses were common sights at funerals.  As consumer culture takes over in China, Joss products have become more and more outrageous.  While this practice is officially banned in China, it has always been tolerated.

Some see the offerings as compensations for what a person never had during his lifetime.  Many consider the items as a reflection of the values of the living of our society.

In 2006, it was reported that paper prostitutes, viagra, condoms, ecstacy and gambling equipment were found outside of cemeteries.  This lead to a crack down of the more extreme products.  

The images in this series reflect some of the products currently available to burn for the dead.

All items were burnt as offerings to my ancestors.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/9FFE-30" width="30" />
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-28</DateStart>
  <DateEnd>2012-03-04</DateEnd>
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 <Party type="1" date="2012-01-27" start="18:00:00" end="20:00:00">Opening Reception</Party>
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 </Event>

 <Event xml:lang="en" id="2012/A72F" href="http://www.nyartbeat.com/event/2012/A72F">
  <Name>&quot;Body Beautiful&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B8E5EB32">
    <Name>Porter Contemporary</Name>
    <Type>Gallery</Type>
    <Address>548 W 28th St., Fl. 3, New York, NY 10001</Address>
    <Phone>212-696-7432</Phone>
    <Fax></Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>thursdays closinghour 20:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[orter Contemporary presents Body Beautiful, a group exhibition of seven artists  that will both confirm and re-examine our ideas of beauty when it comes to the human form. 

Porter / Contemporary has selected artists and works that engage our inherent sense of beauty. The graceful and smooth marble sculptures of  Carolina Baptista Rodriguez and the intimate photographs of Sarah Kaufman are juxtapozed with Juliet Foxtrot’s modernized Da Vinci type painted nudes, Jennifer Murray’s half human half animal mixed media works and Catherine Tafur’s disturbing and erotic paintings. Body Beautiful inspires a self-exploration of what defines beauty through different forms and mediums.

About the Artists:
David Agenjo is a self-taught artist born in Madrid and working in London. He works at refining his understanding of the visual language of the human body and his need to represent our psychologies, thoughts and emotions onto that which is at once most familiar, but also so easily lost in the complex visual cultures of the modern world.﻿

Born in Chile and currently living and working in London, Pato Bosich is drawn to creating atmospheres and situations that resist easy reading and instead convey a sense of mystery and tension. Often, the imagery comes from second hand visual sources and Bosich explores how experience of such sources can be arrested, slowed down and sensually intensified by  expressing them through oil paint.

Juliet Foxtrot is a Sydney based artist whose work captures the dynamic figure derived from contemporary life and imagery in punching, shouting kicks of acrylic and resin on canvas.

Sarah Kaufman, an Assistant Professor of Art in Photography at Ursinus College in Pennsylvania, finds her subjects on Craigslist and visits them in their homes. She asks them to try to show her the world that they inhabit when they are alone and the resulting photographs explore the relationships among the subjects, their bodies, and their spaces. 

Exploring themes of gender, sexuality, and sociopolitical power struggles, Jennifer Murray uses totemic animal characters to express her impressions of human life within the decaying and carnal confines of New York City. Murray recently completed a Masters in Humanities and Social Thought from New York University, where her concentration was post-colonial studies, gender politics, and metaphorical framing in sociopolitical discourse.

Carolina Rodriguez Baptista draws inspiration from the complex world of women: makers of life, owners of the secret keys of wisdom and intuition, and driving forces that shape the game of life. Rodriguez Baptista was born in Venezuela, moved to New York City to attend The Parsons School of Design and currently lives in Barcelona, Spain. 

Born in Peru, Catherine Tafur moved to New York City to attend the Cooper Union School of Art and now resides in New York. Using images of the body, Tafur explores ideas of gender deconstruction, confrontational sexuality, and the disillusionment and loss of innocence through imagery of disfigurements, idealized androgyny and mutilation. ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/A72F-30" width="30" />
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  <Karma>2.75958</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:30:00" end="20:30:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/ACCD" href="http://www.nyartbeat.com/event/2012/ACCD">
  <Name>&quot;Material Magic&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/3E7FD89E">
    <Name>Visual Arts Gallery</Name>
    <Type>Gallery</Type>
    <Address>601 W 26th St.,15th Fl, New York, NY 10010</Address>
    <Phone>212-592-2145</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
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  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Media>Screen: Video installation</Media>
  <Description><![CDATA[An exhibition of work presented by the BFA Fine Arts Department. Curated by Department Chair Suzanne Anker and faculty member Gunars Prande. ]]></Description>
  <Image src="http://www.nyartbeat.com/resources/images/nopic" width="30" />
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-03</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
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  <Latitude>40.751008</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/B2B4" href="http://www.nyartbeat.com/event/2012/B2B4">
  <Name>Anthony Caro &quot;New Small Bronzes&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CF258D43">
    <Name>Mitchell-Innes &amp; Nash (534 W 26th St.)</Name>
    <Type>Gallery</Type>
    <Address>534 W 26th St., New York, NY 10001</Address>
    <Phone>212-744-7400</Phone>
    <Fax>212-74407401</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
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  <Media>3D: Sculpture</Media>
  <Description><![CDATA[[Image: Anthony Caro &quot;Blossom&quot; (2012) Bronze case and welded 5-7/8 x 12-3/8 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B2B4-30" width="30" />
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-03-01</DateStart>
  <DateEnd>2012-04-05</DateEnd>
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  <DaysBeforeEnd>56</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/B32C" href="http://www.nyartbeat.com/event/2012/B32C">
  <Name>&quot;20th Anniversary&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB7D5F99">
    <Name>Skoto Gallery</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., 5 Fl., New York, NY 10011</Address>
    <Phone>212-352-8058</Phone>
    <Fax>212-352-8079</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street, A/C/E to 14th Street, L to 8th Avenue.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Skoto Gallery at 20
by Geoffrey Jacques
 
It is tempting to talk about Skoto Gallery as a secret treasure of the New York art scene; but doing so brings up a lot of contradictory data. For instance, how does a “secret” survive two decades in a historically tough scene made even tougher by the cultural and economic head winds that have buffeted art, the New York art world, and the world in general in the last few years? To say the quality of the work shown at Skoto Gallery during these last twenty years is responsible for its success would be one obvious truth. There is, however, more to it than that. Skoto Gallery performs a vital intervention into the very idea of contemporary art.
 
Twenty years ago this seemed like just another gallery starting up in New York City’s Soho during that neighborhood’s historical heyday as the center of the art world. This was a time of sharp public protests and protest-style exhibitions trying to crack an art scene whose racial and gender homogeneity was only slightly masked by an essentially Eurocentric ethnic plurality. It was the era of a multiculturalism that seemed like it was always emerging, yet never quite arriving. The Museum of Modern Art had recently mounted a highly-touted exhibition on “primitivism” —still thought of, as late as the mid-1980s, as a polite word — and modern art. African art was still thought of, by a wide section of the art public and by more than a few specialists, as an art without artists. That is, one had the objects, but usually these objects had no individual names attached to them. The sources of these objects were often ascribed as tribal or regional, but were rarely ascribed to an individual artist. Of course, Africans might have had some influence on the origins of modern art —this was, after all, MOMA’s point — but none created art worth thinking about in our real-time world. Few people in New York had ever heard of a contemporary African artist making contemporary art. Meanwhile, the conversation concerning contemporary art as such focused almost exclusively on European or Eurocentric trends, individuals and individualists. Even the few African Americans whose names the official art world admitted to knowing, such as Romare Bearden and Jacob Lawrence, were talked about, when considered at all, not as artists, exactly, but as relics or representatives.
 
This was the art world Skoto Gallery found itself in, and its own intervention into the conversation started with a bang. To open a gallery largely devoted to contemporary African art was one thing, and a pretty big thing at that; but to open the gallery with an exhibition curated by Ornette Coleman was another thing altogether. Soon enough, word got around town that something different was happening down on Prince Street. So it was. You walked in, and a whole new world opened up. It wasn’t just Africans who showed there, as remarkable as that might have been; sometimes Skoto Gallery would come up with ingenious pairings. I remember being so moved by a 1995 exhibition of works by two sculptors that I had to write about them. The pairing was, at first glance, audacious: Tom Otterness, from Kansas, who lived in New York; and Bright Bimpong, from Ghana, who was, at the time, studying in New Jersey. It was the kind of beautiful exhibition we’re now used to seeing at Skoto Gallery. On another occasion, I spent several congenial hours surrounded by the transcendent works of the category-defying El Anatsui, who was born in Ghana but who made his reputation in Nigeria. Here was an accomplished artist who’d been working for decades. I’d never heard of him. This is often the case with the artists who choose Skoto Gallery as an exhibition venue, and it is among the qualities that continue to make this gallery a unique and valuable part of New York’s art world. This is one of the rare galleries in that world where it’s still possible to get the news about art. One can hardly think of a bigger accomplishment.
 
Geoffrey Jacques is a poet and critic. He is the author of the poetry collection Just for a Thrill (2005) and A Change in the Weather: Modernist Imagination, African American American Imaginary (2009), a book of criticism.
 http://www.geoffreyjacques.com

[Image: Inaugural exhibition, curated by Ornette Coleman at Skoto Gallery former 25 Prince Street location, February 7th, 1992]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B32C-30" width="30" />
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  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-02-25</DateEnd>
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 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/B3C1" href="http://www.nyartbeat.com/event/2012/B3C1">
  <Name>Michael Minelli Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/B5BC9B89">
    <Name>CUE Art Foundation</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., New York, NY 10001</Address>
    <Phone>212-206-3583</Phone>
    <Fax>212-206-0321</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[When I started making work in the 1980's, Richard Gere was rumored to have been compromised by a gerbil (or vice versa), actor/President Ronald Reagan was in office and the internet was in its infancy. Twenty plus years later, the politics between fantasy and spectacular culture are still in play, but now the landscape of how one speaks and the audience(s) to whom one is speaking lend a whole new level of feedback to the mix.

Whether speaking directly to the camera, modeling raw plasticine or rolling paper into vacant microphone stands, my work is an investigation of what it means to understand something through the process of making it. I've always seen that activity as an open proposal; one where a direct engagement with materials is an opportunity to challenge notions of mastery, totality or spectacle by resisting their implications with respect to agency. Few of us as artists can fully anticipate the conditions under which a work may be seen or understood, but we can approach that making with an awareness that such a moment will come.

The works in this exhibition offer me an opportunity to explore how meaning is informed through labor, memory, narrative and material content; all constituent parts that make up America's matrix of pleasure and conspicuous consumption. My practice is an attempt at shaping the shit that passes through our homes and through our heads into a response.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B3C1-30" width="30" />
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  <Image src="http://www.nyartbeat.com/media/event/2012/B3C1-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-26</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-26" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.749028</Latitude>
  <Longitude>-74.003453</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B3FC" href="http://www.nyartbeat.com/event/2012/B3FC">
  <Name>&quot;Bauer. Croxson. Lichty. Wood.&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/10FFBAD5">
    <Name>Foxy Production</Name>
    <Type>Gallery</Type>
    <Address>623 W 27th St., New York, NY 10001</Address>
    <Phone>212-239-2758</Phone>
    <Fax>212-239-2759</Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[This group exhibition balances the elaborate, enigmatic paintings of Michael Bauer and Joel Croxson, with the hypnotic, streamlined sculptures of Stephen Lichty and Sarah E. Wood. With intriguing shapes and materials, and odd juxtapositions and references, the works defy, in varying ways, the empty signs of contemporary abstraction. Echoing, perhaps, the response of the New Realists to Abstract Expressionism, the artists here generate unexpected experiences for the viewer by inflecting abstraction with poetic and figurative notes.

Michael Bauer’s paintings display marks and icons, floating upon a flat field, that come together as spectral portraits whose roots may lay somewhere in Renaissance or Modernist portraiture. His paintings unleash an array of references that modulate from the unknown and nightmarish, to the recognizable and charming.

Joel Croxson’s meticulous, energized paintings mix patterning, lines, and shapes with fields of color. Conjuring almost, but not quite definable images and actions, they possess the visual logic of a dream: With no easily identifiable reason or direction, they make sense in the moment and then change course. Thwarting literal readings, they open doors to subjective spaces.

Stephen Lichty’s sculptures suspend familiar materials in exquisite, sculptural animation. He contours ribbons using armatures, creating relationships between elements that have a powerful and poetic sense of movement. Held in a fine balance between figure and ground, the works traverse the fault-line between representation and abstraction.

Sarah E. Woods’ elegant, sculptural constructions inject everyday materials with a stark and affective lyricism. Her wall-based work, Untitled (Broken Lines), made from wood, steel, and string, is reminiscent of a waterfall or, perhaps, the digital version of one. The theatricality of its simulated movement is matched by its pared-down gracefulness.

Michael Bauer (Erkelenz, Germany, 1973) lives and works in New York. He studied at the Foundation of BROTHERSLASHER, Cologne, with Tim Berresheim and at the Hochschule fur Bildende Kunst Braunschweig, Germany. Exhibitions include: Lisa Cooley, New York (solo)(upcoming 2012); Peter Kilchmann, Zurich (solo); Saatchi Gallery, London; Galerie Chez Valentin, Paris; Norma Mangione Gallery, Turin (solo); Villa Merkel, Esslingen am Neckar, Germany (solo)(all 2011); Linn Luhn, Cologne (two person); Marquis Dance Hall, Istanbul, Turkey (two person)(both 2010); Kunsthaus Baselland, Basel (solo); HOTEL, London (solo); Artleib, Dusseldorf, Germany (two person)(all 2009); Sammlung Südhausbau, Munich (2008); Lehmann Maupin, New York; Timothy Taylor Gallery, London, curated by Emma Dexter; Jack Hanley, San Francisco (solo); Kunstverein, Bonn, Germany (solo); Stadtische Galerie, Delmenhorst, Germany (solo)(all 2007); Städtische Galerie, Wolfsburg (2001); Kunstverein Braunschweig (2000); and Kunsthalle Recklinghausen (1999). His curatorial series The Keno Twins (1-5) was presented across Germany and Italy (2008-2011).

Joel Croxson (1978, Bristol, UK) lives and works in London. He holds a BFA from the University of the West of England, Bristol, and a Post-graduate Diploma Fine Art from the Royal Academy, London. Exhibitions include: Frieze Frame, Frieze Art Fair (solo)(2011); Rob Tufnell Gallery, London (solo)(2011); Dicksmith Gallery, London (solo)(2009); 319 Portobello Road, London; Atelierhaus Mengerzeile, Berlin (both 2007); Bristol City Crypt, Bristol; Three Colts Gallery, London; v22/On, Ashwin Street Gallery, London (all 2006); One in the Other, London (solo)(2005); Summer Exhibition, Royal Academy, London (2003); and Spike Island, Bristol (2001).

Stephen Lichty (Kansas City, MO, 1983) lives and works in Brooklyn, New York. He holds a BSc from the Department of Culture and Communications at NYU. Exhibitions include: Frutta, Rome (2012); The Barber Shop, Lisbon (2011); and School of Development, Berlin (2010). Performances include: Ribbon dance in a thunderstorm at sunset, Socrates Sculpture Park, New York (2011). Publications include: Special Effects, Advances in Neurology, re-release with Neil Marcus and Publication Studio (2011); and Alexander, Bell, Cooper, McCracken, Valentine (1971), re-release with Publication Studio (2010).

Sarah E. Wood (Beckley, WV, 1976) lives and works in Brooklyn, New York. She holds a BFA from The Maryland Institute, College of Art, and an MFA from Rutgers University. Exhibitions include: Grimm, Amsterdam; Francois Ghebaly Gallery, Los Angeles (both 2011); Kate Werble (solo)(2010); Carnegie Mellon University, Pittsburgh; PS122, New York (solo)(both 2008); and Art in General, New York (2004).]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B3FC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B3FC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B3FC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
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  <Latitude>40.751811</Latitude>
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 </Event>

 <Event xml:lang="en" id="2012/B73A" href="http://www.nyartbeat.com/event/2012/B73A">
  <Name>Bruce Gagnier &quot;Moses Striking the Rock: A Commission&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/CA84DB52">
    <Name>Lori Bookstein Fine Art</Name>
    <Type>Gallery</Type>
    <Address>138 10th Ave., New York, NY 10011 </Address>
    <Phone>212-750-0949</Phone>
    <Fax>212-750-0947</Fax>
    <Access>Between 18th and 19th Sts.  Subway: L or A/C/E to 14th Street/ 8th Avenue </Access>
    <Area areaId="chelsea_19_below">Chelsea 14th - 19th</Area>
    <OpeningHour>10:30:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Lori Bookstein Fine Art presents a fountain commission by Bruce Gagnier. The life-size bronze depicts the Old Testament scene in Numbers 20:11: &quot;And Moses lifted up his hand, and smote the rock with his rod twice: and water came forth abundantly, and the congregation drank, and their cattle.&quot; The newly-completed Moses Striking the Rock will be on view through February 18 before going to its permanent home, a private residence on the Long Island Sound.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B73A-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B73A-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B73A-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-31" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.744903</Latitude>
  <Longitude>-74.005998</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B943" href="http://www.nyartbeat.com/event/2012/B943">
  <Name>Group show &quot;Simultaneity&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/39060712">
    <Name>Blackston</Name>
    <Type>Gallery</Type>
    <Address>29C Ludlow St., New York, NY 10002</Address>
    <Phone>212-695-8201</Phone>
    <Fax>212-695-8202</Fax>
    <Access>Between Hester and Canal Sts.  Subway: F to East Broadway, B/D to Grand Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Blackston presents Simultaneity, a group show featuring works by Brooklyn-based artists Ryan DaWalt, Rachel Howe, Shawn Kuruneru, Jeffrey Scott Mathews and Meghan Petras.  A reception will be held for the artists on Sunday, January 8th from 6 to 8 p.m.
 
Simultaneity addresses a current zeitgeist of pattern, motif and process in the separate studio practices of five young New York artists.  The title of the exhibition references artists Robert and Sonia Delaunay's early Twentieth Century movement, which, in both paintings and textile works, heralded the interplay of divergent color, lines and abstract forms in a single frame of reference.
 
Ryan DaWalt's steel geometric shapes on linen develop a unique color system across the plane. Using handmade pigments containing iron and steel particulates that are applied to linen backed by a magnetic field, the artist creates forms that are repeated and altered across the body of his work, resulting in a distinct color play that references formal art-making in addition to textile patterns.   
 
Rachel Howe's paper works are made with woven, hand-dyed cut strips of paper.  Concerned with both process and psychological elements of visual expression, Howe frequently incorporates symbols and patterns from ancient, occult and craft traditions.
 
Shawn Kuruneru employs rigorous application of miniscule ink marks over canvas and panel surfaces to create highly detailed minimalist work.  The undulation and accumulation of these marks develop compelling visual connections and perspective shifts, as well as altering the texture and tone of each surface.  The artist's sculptural piece in the exhibition incorporates elements of his mark-making across three dimensional space.
                 
Using bold abstract gestures, Jeffrey Scott Mathews applies a liquid form of the heavy metal bismuth to linen canvases painted with symmetrical underpinnings.  The concurrence of these pronounced metallic applications (out of which crystals grow) with a modulated background evinces a paradoxical relationship.  Mathews also works with textiles in forming large canvas wall hangings replete with recurring angular components.
 
Meghan Petras applies fabric paint to canvas, then cuts, reassembles and sews the pieces into a whole canvas that is stretched across a painting frame.  The results are bold and vital abstract paintings.  The artist's repeated gestural symbols and unique visual vocabulary reference Modernist traditions and equally the role of traditional craft disciplines in art-making. 
 
Employing concurrent use of textile, formal and alchemic traditions and newly developed processes, the works in this exhibition all embody the dynamic potential of relational exploration via color (or lack thereof), mark, material and form.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B943-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B943-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B943-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-08</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-08" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715642</Latitude>
  <Longitude>-73.990825</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/B978" href="http://www.nyartbeat.com/event/2012/B978">
  <Name>Kevin Lips and Mason Saltarrelli Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/6D0B4161">
    <Name>Interstate Projects</Name>
    <Type>Gallery</Type>
    <Address>56 Bogart St., Brooklyn, NY 11206</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between Grattan St and Harrison Pl., Subway: L to Morgan Avenue.</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="1" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Both artist's source their work from the found, either in materials, shapes, or forms. Through this process they both create narrative triggers that remain undetermined by the artist and the naturalistic abstract forms of both artist's works.

Kevin Lips' sculptures are amorphous shapes that interact with each other and build off themselves. Trained classically as a potter and ceramicist, he takes everyday materials and hardware store basics and combines them to form surfaces and textures that bind and condense into outer shells and surfaces. This ever evolving series of simple but universal forms are now focusing on textiles. By combining strips of various colors, textures and densities of basic materials, Lips sculptures become off the wall three dimensional paintings. These new works are not about painting though, or any emulation of but more about the idea of form, color, space and materiality.

Mason Saltarrelli's work is an open-ended narrative that he creates by using a mixture of images that are found and imagined. Over time he has developed a cast of characters, some recognizable, some not, who invite the viewer to map for themselves new relationships and interactions. Identifiable borrowings, such as the Hopi figure of Kachina or specific Catholic saints with their attributes, are removed from their original context not to negate or deny their stories, but to add to them. Saltarrelli is inspired by the manners and functions of the fable or folk-tale and by jazz, whose improvisational template he applies in his own process. The intention is to invite anyone looking at the images to open a stream of consciousness that runs in parallel to his own.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/B978-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B978-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/B978-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.705575</Latitude>
  <Longitude>-73.933216</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BB97" href="http://www.nyartbeat.com/event/2012/BB97">
  <Name>Ross Knight &quot;Situations&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/FEF55C3A">
    <Name>Team Galllery (47 Wooster Street)</Name>
    <Type>Gallery</Type>
    <Address>47 Wooster St., New York, NY 10013</Address>
    <Phone>212-279-9219</Phone>
    <Fax></Fax>
    <Access>Between Grand and Broome Sts. Subway: C/E to Canal Street</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Five new sculptures make up Ross Knight’s sixth solo exhibition at Team Gallery. The works are traditional sculpture of human scale and consideration. For these idiosyncratic hand-made constructions, Knight misuses utilitarian materials, stripping them of their ordinary functions and marrying disparate elements in sophisticated singular structures. Neither formalist nor minimalist, though taking much from both schools, the pieces hinge on visual relationships formed when re-contextualized materials are shaped to touch one another in specific and suggestive ways.

The centerpiece of the show is a massive construction of steel and plastic, an outdoor work grandly housed in the gallery. Part is a cantilevered structure with the protruding consoles of a conveyor belt that stop short in space and an exaggerated steel elevation embellished with matte magenta paint; the entirety then suction-wrapped in opaque white plastic. With industrial coloring and packaging, Part seems vaguely functional, an object fluctuating constantly between its own installation and de-installation, like commercial units dissasembled and packed for shipment, or for disposal, or prefab architectural modules caught in mid-construction, on the sublime verge of realization.

Skin to weight is a formal structure of two circular steel weights connected by a tall iron rod upon which sits the rolled skin of half a cow. The slender pedestal resembles a spine held between discs supporting some core cavity of a body. The bleached rawhide, diaphanous and delicate, methodically curls into itself, skin embracing skin, with evocative tactility and meticulous balance.

In Cord, iron shafts hang from a wooden sawhorse fastened to an oversize block of plastic. Held together with string like a crude scale, spindly steel legs support suspended weights, both burden and value. While Part and Skin to weight consider the armature of skin — plastic or real, structure-revealing and structure-housing — both Cord and Skin to weight turn on oddly balanced relationships of volume and pressure. 

Knight’s particular exploitation of materials also consistently relies upon sexual innuendo which is both sly and tremulous, in his push-and-pull and pole-and-hole configurations. Additionally, though Knight’s structures have many embedded lines of reference — the metal assemblages of Anthony Caro, the intersecting geometries of David Smith, the collaged installations of Kurt Schwitters, the corporeal erections of Matthew Barney, the ambiguous furniture of Franz West, and the wrapped objects of Christo come to mind with these pieces — the vocabulary of forms, and the unexpected ways in which elements encounter one another, is Knight’s own distinct signature.
]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BB97-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BB97-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BB97-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.722667</Latitude>
  <Longitude>-74.002611</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BC0E" href="http://www.nyartbeat.com/event/2012/BC0E">
  <Name>&quot;Glasstress New York: New Art from the Venice Biennales&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/EB18574C">
    <Name>Museum of Arts &amp; Design</Name>
    <Type>Museum</Type>
    <Address>2 Columbus Circle, New York, NY 10019</Address>
    <Phone>212-299-7777</Phone>
    <Fax></Fax>
    <Access>At 58th St. and 8th Ave.  Subway: B/C/D to 59th Street/Columbus Circle</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="1" />
    <ScheduleDetails>thursdays closinghour 21:00</ScheduleDetails>
    <ScheduleNote>In the Summer opened on Tuesdays.  Check with the venue for details.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Glasstress, The Museum of Arts and Design is proud to present Glasstress New York: New Art from the Venice Biennales an extraordinary international gathering of glass sculpture created in Murano at the studio of entrepreneur and mentor Adriano Berengo. Berengo, the founder of Venice Projects, has engaged artists, architects and designers from such diverse countries as the United States, China, Italy, Germany, The Netherlands, and Spain. The resulting works were originally commissioned for and presented at the Venice Biennials of 2009 and 2011. The pieces are dramatic and often provocative, ranging from independent sculptures to installations incorporating sounds and light to prototypes for production. The spirit of innovation and experimentation pervades the works in this exhibition; many of the artists and designers were given their first opportunity to work with this challenging medium, and in collaboration with the brilliantly capable master glass artisans assembled by Adriano Berengo.

[Image: Javier Pérez &quot;Carroña&quot; (2011)]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BC0E-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BC0E-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BC0E-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Adults $15, Students and Seniors $12, Members and Children under 12 Free, Thursdays 6 - 9pm Pay What You Wish</Price>
  <DateStart>2012-02-14</DateStart>
  <DateEnd>2012-06-10</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>122</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.767589</Latitude>
  <Longitude>-73.982067</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/BCB4" href="http://www.nyartbeat.com/event/2012/BCB4">
  <Name>Marsha Pels &quot;Detroit Redux&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/7B2FB6F2">
    <Name>Schroeder Romero &amp; Shredder</Name>
    <Type>Gallery</Type>
    <Address>531 W 26th St., New York, NY 10001</Address>
    <Phone>212-630-0722</Phone>
    <Fax></Fax>
    <Access>Between 11th and 12th Ave. Subway: A/C/E to 34th Street or C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote>Viewing also by appointment.</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[In Detroit Redux, Marsha Pels has created a personal metaphorical landscape with an ensemble of five sculptures dealing with decay, frailty and rehabilitation in relation to the fall of a great American city. Pels continues to merge autobiographical narratives within the larger context of global concerns. Consisting of deconstructed surrogates of the artist herself, these sculptures fuse images of destruction with images of resurrection to make us question the body as a working machine, aging vs. fertility and the animal as savior.
 
Pels spent 2008-2010 as a Sculpture Professor in Detroit. In 1932, Diego Rivera was commissioned by Henry Ford to make the great fresco murals for the Detroit Institute of Art. Rivera described the city as &quot;the great saga of the machine and of steel.&quot; In contrast, his wife, the painter Frida Kahlo, described Detroit as &quot;a shabby village.&quot; This dialogue remains today as Detroit attempts to resurrect itself from political and economic devastation through a cultural &quot;Renaissance.&quot;
 
Inspired by ruins of America's most famous post-industrial city while she endured a traumatic cervical fusion, Pels has created an open-ended narrative that is never didactic; a surreal and dramatic bildungsroman relating to the feminine experience of aging to the monumental Zietgeist of Detroit.
 
Pels' sculptural practice involves making these inspirations corporeal through labor-intensive, materially complex objects and installations in a masterful range of materials including: cast bronze and iron; glass and resin; marble and found objects. Images of anatomical structures blend into iconic architectural and mechanical forms. Engines become organs, concrete becomes bone and domestic animals become signifiers of resurrection.
 
In the tradition of her mentor, the late Louise Bourgeois, Pels' material language has become increasingly more complex over the past three decades. Cerebral and psychosomatic, Pels's installations force us to examine our impending mortality through dark humor and visceral imagery.
 
An important voice in New York for three decades, Pels has been exhibiting internationally since winning the prestigious Prix de Rome in 1984. This is her fourth exhibition with the gallery. Recently, Marsha Pels was the only American sculptor to participate in the 2011 Lorne Biennale in Lorne, Victoria, Australia. She is the recipient of a Pollock Krasner Award and a Fullbright Scholarship to Germany among others. Her work is in The Olbricht Collection, Berlin, Germany and the National Museum of Gaborone, Botswana, Africa. Her outdoor site-specific sculpture is in the public collections of Grounds For Sculpture, Hamilton, NJ; The Pratt Sculpture Park, Brooklyn, NY; Smith Gilbert Gardens, Kennesaw, GA, and the Hebrew Home Museum, Riverdale, NY. Her work will also be featured in a forthcoming issue of Sculpture magazine. This exhibition is accompanied by the catalogue, Detroit Redux: Recent Sculpture 2009-2011.

[Image: Marsha Pels &quot;To Fly, To Drive&quot; (2009-2011) Cast epoxy resin and fiberglass, fluorescent lights, 1997 V8 Lincoln engine, plastic chains, steel cable, 7 x 16 x 18 ft.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/BCB4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BCB4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/BCB4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-12" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.750125</Latitude>
  <Longitude>-74.003686</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C0CA" href="http://www.nyartbeat.com/event/2012/C0CA">
  <Name>Martin Bromirski, Rachel LaBine, and Elizabeth Riley Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A1A837E8">
    <Name>StorefrontBushwick</Name>
    <Type>Gallery</Type>
    <Address>16 Wilson Ave., Brooklyn, NY 11237</Address>
    <Phone>917-714-3813</Phone>
    <Fax></Fax>
    <Access>Between Noll and George Sts.  Subway: L to Morgan Avenue </Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="1" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Storefront Bushwick presents the work of Martin Bromirski, Rachel LaBine, and Elizabeth Riley. This show marks the first time that the artists have exhibited at the gallery.

All contemporary art-making is a response to what it means to live in the world today. The premise of the show is the multi-faceted nature of our experience of contemporary reality, which the artists draw upon to make their work. The three artists on exhibit share a free-wheeling, fractured sense of space, time, and reality, which they investigate in their work by stretching the boundaries of their practice.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C0CA-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C0CA-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C0CA-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.703417</Latitude>
  <Longitude>-73.930547</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C1EB" href="http://www.nyartbeat.com/event/2012/C1EB">
  <Name>Frankie Rice &quot;SOLO&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/BC6774A0">
    <Name>Launch F18</Name>
    <Type>Gallery</Type>
    <Address>373 Broadway, New York, NY 10013</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>Between White and Franklin Sts., Subway: 1 to Franklin or 6/N/R/Q to Canal Street.</Access>
    <Area areaId="lower_manhattan">Lower Manhattan</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Frankie Rice assembles sculptural archways as metaphor and self-portrait. The arch itself is the common denominator, yet the material has differed drastically depending on the external or internal environment he is currently taking into consideration.  Kids spring-loaded rocking horses from playgrounds, linked together in a whimsical and slightly creepy narrative suggest a troubling passage or gateway from childhood to adolescence. His driftwood arches are a direct result of his upbringing in Truro MA, which project a torque, sinuous struggle that he has iconoclastically burned in ceremonial settings or kept intact as weathered milestone. When Frankie moved to NYC he utilized materials fundamental to his immediate internal and external dialogue. He left the natural beauty of opaque driftwood representative of his home on Cape Cod and utilized the structure of the trashcan to emote a sense of his reaction to the complexity of the city both agleam and distressed.  In November Frankie include one of the most profound sculptures of this series as part of the exhibition &quot;Wrestle&quot;. The sculpture, small in comparison, required an entire wall; it spoke volumes. He has taken his past lovers HIV pill bottles and melded them into small, intimate pieces that wreathe danger, sexual tension (ejaculation, caustic and frozen in time) all within an irony of hope.  Twisted, burning, wreathing, torqued and weathered, his works metaphoric denominator is always the very evident opportunity of wishfulness through passage.
 
For SOLO, Frankie will be exhibiting his large trashcan sculpture. Gleaming and powerful in its stance, this works mien suggests passage and renewal through the structure of banal material that, in its traditional form, is used to compile and dispose of unnecessary waste. Frankie takes these trashcans and repurposes them in a context that allows us to walk through and experience riddance metaphorically.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C1EB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C1EB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C1EB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-04</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-04" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.717864</Latitude>
  <Longitude>-74.003397</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C341" href="http://www.nyartbeat.com/event/2012/C341">
  <Name>&quot;Selected Gallery Artists&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/0F1576CC">
    <Name>Flowers</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., New York, NY 10011</Address>
    <Phone>212-439-1700</Phone>
    <Fax>212-439-1525</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd St.</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>or by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[[Image: Glenys Barton &quot;Tattoo Head I&quot; (2009) Ceramic, 63 x 44 x 28 cm / 25 x 17½ x 11¼ in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C341-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C341-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C341-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-24</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746263</Latitude>
  <Longitude>-74.006224</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/C370" href="http://www.nyartbeat.com/event/2012/C370">
  <Name>&quot;Bright Future: New Designs in Glass&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/7231EE35">
    <Name>Pratt Manhattan Gallery</Name>
    <Type>Gallery</Type>
    <Address>144 W 14th St., 2 Fl., New York, NY 10011</Address>
    <Phone>212-647-7778</Phone>
    <Fax></Fax>
    <Access>Between 6th and 7th Ave., Subway: L to 7th Avenue, 1/2/3/9 to 14th Street.</Access>
    <Area areaId="chelsea_east">East Chelsea</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Product</Media>
  <Description><![CDATA[Glass is an ancient material whose second life is just beginning. &quot;Bright Future&quot; introduces innovative designs that reflect traditions in glass while demonstrating its new possibilities.
 
Guest Curator: Sarah Archer

Participating artists, designers and firms:
 
Lindsey Adelman Studio, U.S.A.
Werner Aisslinger and CIAV Meisenthal, France
Omer Arbel for Bocci, Canada
Alison Berger, U.S.A.
Amiram Biton, Israel
James Carpenter Design Associates, U.S.A.
Marco Dessí for J. &amp; L. Lobmeyr, Austria
GlasPro, U.S.A.
Hulger and Samuel Wilkinson, U.K.
Helen Lee, U.S.A.
Áron Losonczi / Litracon, Hungary
Ingo Maurer, Germany and U.S.A.
Giovanni Moretti for Carlo Moretti Srl., Italy
Moving Color, U.S.A.
Bruce Munro, U.K.
Tom Patti, U.S.A.
Robert Stadler, France
SWITCH Lighting, U.S.A.
Liana Yaroslavsky, France]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/C370-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C370-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/C370-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-05-05</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>86</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.738322</Latitude>
  <Longitude>-73.998236</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/CD84" href="http://www.nyartbeat.com/event/2012/CD84">
  <Name>Rachel Kneebone &quot;Regarding Rodin&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/8F478E4D">
    <Name>Brooklyn Museum</Name>
    <Type>Museum</Type>
    <Address>200 Eastern Parkway, Brooklyn, NY 11238</Address>
    <Phone>718-638-5000</Phone>
    <Fax>718-501-6136</Fax>
    <Access>Subway: 2/3 to Eastern Parkway/Brooklyn Museum</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>thursdays closinghour 22:00,</ScheduleDetails>
    <ScheduleNote>First Saturday of the month 11am to 11pm</ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Rachel Kneebone: Regarding Rodin, an exhibition featuring new works by the British artist Rachel Kneebone shown alongside iconic works from the nineteenth-century French master Auguste Rodin in the Elizabeth A. Sackler Center for Feminist Art. Kneebone's first major museum presentation, the exhibition will include eight intricately wrought, large-scale porcelain sculptures paired with fifteen Rodin sculptures from the Brooklyn Museum's collection.

Rachel Kneebone: Regarding Rodin will focus on Kneebone's and Rodin's shared interest in the examination of gender and sexuality, the nature of sculptural form, and the formal representation of mourning, ecstasy, death, and vitality in figurative sculpture. This pairing will also offer a visual comparison of their sculptural materials and processes. Kneebone's porcelain sculptures make reference to the history of sculpture including comparisons to Michelangelo, Gianlorenzo Bernini, and Louise Bourgeois. Her simultaneously pristine and agitated artworks, which integrate human forms that merge into odd mutations, provide a stark contrast to Rodin's heavy, dark, yet equally animated bronzes. Whereas Rodin cast his sculpture, Kneebone creates unique artworks that she fires in a small kiln in her studio. Her larger sculptures are fired in sections and then assembled later into completed pieces.

This exhibition marks the first time that Kneebone will present her artwork along with one of her significant historical referents. The centerpiece of the exhibition and the largest work that she has created to date, The Descent (2008), was inspired by Dante Alighieri's Divine Comedy, as was Rodin's masterpiece The Gates of Hell (1880-1917). The Descent is a highly theatrical sculpture consisting of hundreds of hybrid figures tumbling into an abyss of teeming with bodies and flesh. Both Kneebone's and Rodin's sculptures take thematic inspiration from The Inferno, the first section of the Divine Comedy, and highlight the charged emotion and the tensions that emerge from life wrestling with death and momentary ecstasy mixed with eternal suffering.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/CD84-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CD84-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/CD84-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">Suggested Contributions: Adults $10, Seniors and Students $6, Members and Children under 12 and First Saturday of the month 5pm to 11pm Free</Price>
  <DateStart>2012-01-27</DateStart>
  <DateEnd>2012-08-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>185</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671525</Latitude>
  <Longitude>-73.962556</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D1DB" href="http://www.nyartbeat.com/event/2012/D1DB">
  <Name>Yinka Shonibare MBE &quot;Addio del Passato&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/145CEA21">
    <Name>James Cohan Gallery</Name>
    <Type>Gallery</Type>
    <Address>533 W 26th St., New York, NY 10001</Address>
    <Phone>212-714-9500</Phone>
    <Fax>212-714-9510</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Film</Media>
  <Description><![CDATA[James Cohan Gallery presents an exhibition of new works by British born, Nigerian artist Yinka Shonibare MBE. In this multi-part exhibition of new sculptures, photoworks and the premiere of a new film, Shonibare explores the concept of destiny as it relates to themes of desire, yearning, love, power and sexual repression.

Yinka Shonibare, well known for creating multi-faceted, conceptual art work, continues to draw our attention to patterns of history and how they are repeated in our own time. Following the installation of the artist’s widely-acclaimed work Nelson’s Ship in a Bottle, on the Fourth Plinth in Trafalgar Square, London, Shonibare continues his explorations of Lord Nelson, the figurehead of the British Empire at its apotheosis. Nelson’s destiny was to fall a hero at the Battle of Trafalgar just as the British Empire’s ultimate destiny was its inevitable demise. Shonibare sees a similar fate reflected on the front pages of today’s newspapers, “The Imperial West is in decline at a time of great economic challenges as we see the rise of the East. The old world is in decline and new worlds are emerging through the economic successes of China and India and the revolutions in the Arab world. We are re-experiencing a new Age of the 'Decline and Fall of the Roman Empire'.”

The main gallery will feature a series of five new photoworks entitled Fake Death Pictures. The artist refers to this series as “a re-enactment of suicide through the history of death in Painting.” Shonibare imagines a dramatized vision of the tragic event of Nelson’s death as played out over a series of five photographic allegories based on classic scenes in painting. The series brings together painting, stage design and photography to create works in the manner of The Suicide by Leonardo Alenza y Nieto (1839) and Edward Manet, (1877) and The Death of Chatterton by Henry Wallis (1856), Death of St. Frances by Bartolomé Carducho (1593) and Death of Leonardo da Vinci by François-Guillaume Ménageot (1781).

Two sculptural installations of costumes constructed in period details with Shonibare’s signature fabric will be displayed in the main gallery space. These costumes were worn by the actors in the film projected in the back gallery. Although the fabric has become a signifier of “Africaness” it is in fact a textile produced by the Dutch with patterns influenced by Indonesian batiks. And therein lays the irony: despite the misunderstanding surrounding the fabric’s cultural origins, it has come to represent a true African identity. The significance of the fabric has provided a conceptual underpinning in Shonibare’s work since his early work.

In the back gallery on view is the film Addio Del Passato (so closes my sad story) in which the character of Frances Nisbet, Lord Nelson’s estranged wife sings the eponymous aria from the last act of Verdi’s opera La Traviata. Shonibare finds a parallel in the story of Nelson’s betrayal of his wife and his passionate love affair with Lady Hamilton to the feelings of loss and yearning as expressed by the opera’s heroine Violetta, on the eve of her impending death. 

On display in the front gallery will be three sculptures of fetish objects and sex aids from bygone eras. With characteristic wit, Shonibare presents his audience with two reproductions of anti-masturbation devices—one for women and one for men—fascinating objects of beauty and horror. Complimenting the array will be a pair of fetish boots whose improbable proportions connote both domination and submission.

Yinka Shonibare, MBE (b.1962) lives and works in London, UK. Shonibare received the prestigious Fourth Plinth Commission in Trafalgar Square from the mayor of London in 2009.

[Image: Yinka Shonibare MBE &quot;Fake Death Picture&quot; (The Death of Chatterton - Henry Wallis), (2011) digital chromogenic print 50 X 62 5/8 inches, Edition of 5]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D1DB-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1DB-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D1DB-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-16</DateStart>
  <DateEnd>2012-03-24</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="3" date="2012-02-16" start="18:00:00" end="20:00:00">Reception For The Artist</Party>
 <DaysBeforeEnd>44</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.75</Latitude>
  <Longitude>-74.003711</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D2F9" href="http://www.nyartbeat.com/event/2012/D2F9">
  <Name>&quot;Dona Nobis&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2579FA0F">
    <Name>Concrete Utopia</Name>
    <Type>Gallery</Type>
    <Address>39 Hampton Pl., Brooklyn, NY 11213</Address>
    <Phone>347-559-6155</Phone>
    <Fax></Fax>
    <Access>Between Sterling and St. John's Pls., Subway: 2/3/4/5 to Kingston Avenue.</Access>
    <Area areaId="dumbo_brooklyn">DUMBO, other Brooklyn</Area>
    <OpeningHour>00:00:00</OpeningHour>
    <ClosingHour>00:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>By appointment only.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Art is a gift. This winter the 20 artists of Dona Nobis have probed the gift dimension of the work of art---the idea that seems to come from somewhere beyond the artist, the value of the work that escapes the valuation of the market, the communities art builds through viewership and circulation, and the world of exchange between artists themselves. On February 11, Concrete Utopia opens its winter group show Dona Nobis at our project space in Crown Heights, featuring paintings, sculpture, electronic installation, and photography from:]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D2F9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D2F9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D2F9-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-03</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-11" start="19:00:00" end="22:00:00">Opening Reception</Party>
 <DaysBeforeEnd>23</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.671472</Latitude>
  <Longitude>-73.94065</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D302" href="http://www.nyartbeat.com/event/2012/D302">
  <Name>&quot;MAKE. BELIEVE.&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/72573B9B">
    <Name>Fountain Gallery</Name>
    <Type>Gallery</Type>
    <Address>702 9th Ave. New York, NY 10019</Address>
    <Phone>212-262-2756</Phone>
    <Fax></Fax>
    <Access>Corner of 48th St. Subway: C/E to 50th Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 13:00, sundays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[This group exhibition features work by Fountain Gallery artists and by artists with mental illness from three other non-profit organizations based in New York City, participating through The Fountain Gallery Visiting Artists Program: HAI, The Living Museum, and Services for the UnderServed. &quot;MAKE. BELIEVE.&quot; is curated by Frank Maresca.
 
&quot;Basically, art for me falls into two categories. That which is effective, and that which is less effective. It is all about communication,&quot; said Maresca, co-owner of Ricco/Maresca Gallery. “Many of the artists in this show do not have the questionable benefit of academic training or an art historical background. However, they still have a lot to say. The art emanates from life experiences that are often harsh and unique, creating an overwhelming desire to reach out and make their stories known. The medium that they have chosen is art, and the message is powerful.&quot; Maresca has championed the work of artists communicating outside of the academic mainstream for the last 30 years; the mission of Ricco/Maresca Gallery has always been to blur the lines between the so called high and low.

[Image: Elliot Johnson &quot;Nicki Minaj&quot; (2011) graphite, ink, vinyl on paper 13.5 x 11 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D302-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D302-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D302-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-12</DateStart>
  <DateEnd>2012-03-07</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>27</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.76225</Latitude>
  <Longitude>-73.989817</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/D419" href="http://www.nyartbeat.com/event/2012/D419">
  <Name>James Brooks &amp; Dan Flavin &quot;Unlikely Friends&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/36840A06">
    <Name>Greenberg Van Doren Gallery</Name>
    <Type>Gallery</Type>
    <Address>730 5th Ave., New York, NY 10019</Address>
    <Phone>212-445-0444</Phone>
    <Fax>212-445-0442</Fax>
    <Access>Between 56th and 57th St. Subway: F at 57th Street or E/V at 53rd Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Summer Hours: Monday - Friday, 10:00 am-5:00 pm</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The gallery is pleased to present this two-person exhibition featuring works on paper and canvas by James Brooks and fluorescent light sculptures by Dan Flavin.

This exhibition pairs these visually disparate bodies of work by exploring the mutual professional respect and friendship Brooks and Flavin had for one another, demonstrated through correspondence, curation of exhibitions and dedication of artworks. While Brooks’ painterly Abstract Expressionist tableaux vary tremendously from Flavin’s controlled, conceptually driven Minimalist light sculptures, both artists paid particular attention to color and the application of their media on the base surface whether paper, canvas or wall.

[Image: James Brooks &quot;Mardon&quot; (1973) acrylic on canvas 76 x 76 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/D419-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D419-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/D419-170" width="170" />
  <Karma>1.26736</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-05</DateStart>
  <DateEnd>2012-02-18</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>9</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.762639</Latitude>
  <Longitude>-73.974228</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/DE48" href="http://www.nyartbeat.com/event/2012/DE48">
  <Name>Tony Cragg Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/83FEC312">
    <Name>Marian Goodman Gallery</Name>
    <Type>Gallery</Type>
    <Address>24 W 57th St., New York, NY 10019</Address>
    <Phone>212-977-7160</Phone>
    <Fax>212-581-5817</Fax>
    <Access>Between 5th and 6th Ave. Subway: B/Q to 57th Street</Access>
    <Area areaId="midtown">Midtown</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="1" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Summer Hours Monday - Friday </ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[The exhibition features recent sculptures in bronze, corten steel, wood, cast iron, and stone.

Tony Cragg is one of the most distinguished contemporary sculptors working today. Cragg’s work developed within the context of diverse influences including early experiences in a scientific laboratory; English landscape and time-based art, a precursor to the presenting of found objects and fragments that characterized early performative work; and Minimalist sculpture, an antecedent to the stack, additive and accumulation works of the mid-seventies. Cragg has widened the boundaries of sculpture with a dynamic and investigative approach to materials, to images, and objects in the physical world, and an early use of found industrial objects and fragments.

The current exhibition presents recent innovations and diversifications of this visual morphology. One of the legacies of &quot;Early Forms,&quot; how one vessel can transform into another and in its alteration reveal its interior space, is brought to life in &quot;Cubic Early Form,&quot; 2010 and &quot;Turning Point,&quot; 2011, as is the intricate choreography of interlocked forms and negative/positive space in &quot;Lost in Thought,&quot; or the complex shapes cut from wood in &quot;Chip&quot;, 2011. The motif of sequentially mutating silhouettes that have appeared in recent works are present in &quot;Hollow Head,&quot; 2008, alongside the complex elliptical and axial stacked constructions that began with &quot;Rational Beings.&quot; Here they extend as if to incorporate speed and rhythmic, elastic motion in &quot;Red Figure,&quot; 2009 and &quot;Runner,&quot; 2011; are layered and heaped in &quot;Accurate Figure,&quot; 2011 and &quot;Thumbs Up,&quot; 2011; or coalesce into families of striking multiple columnar forms as in &quot;Group,&quot; 2011 and &quot;Versus,&quot; 2011.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DE48-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DE48-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DE48-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-01" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.763253</Latitude>
  <Longitude>-73.974683</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/DF70" href="http://www.nyartbeat.com/event/2012/DF70">
  <Name>Marilla Palmer &quot;Nature Burlesque&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/F457E489">
    <Name>Kathryn Markel Fine Arts</Name>
    <Type>Gallery</Type>
    <Address>529 W 20th St., Suite 6W, New York, NY 10011</Address>
    <Phone>212-366-5368</Phone>
    <Fax>212-366-5468</Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_20">Chelsea 20th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays openinghour 11:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Marilla Palmer's delicate compositions of flowers and leaves combine nature and theatrical embellishments; sequins, glitter and beads are all decadent components used to make nature her Soubrette. Palmer's eight new works on paper and sculptures reflect her overall interest in combining natural elements with fabricated materials. Palmer's faux botanical studies are derived directly from fallen shadows of handheld twigs and branches, and incorporate mushroom spores with thread, pressed leaves with holographic paper, and glitter with watercolor. The intricacy of Palmer's work entices exploration and beguiles the viewer. Look close and the work reveals details of intense study that are faithfully copied but made to be, as Palmer says, &quot;more gorgeous, more exciting.&quot; It is what Mother Nature would create if she were casting a play. Marilla Palmer gilds the lily of nature in its perfection; delicate and ethereal, sensual and seditious, it is nature accompanied by flare.

Marilla Palmer lives and works in Brooklyn, NY and has had numerous exhibitions of her work in New York and Los Angeles. She received her B.A. from Philadelphia College of Art. A review of a New York exhibition in the New Yorker says Palmer &quot;successfully amalgamates light-emitting diodes and bits of forest fungus.&quot; Time Out New York said Palmer &quot;sidesteps kitsch to create vivid and complex environment&quot;; and the Village Voice described her work as &quot;wistful rather than ornamental.&quot;]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/DF70-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DF70-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/DF70-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-09</DateStart>
  <DateEnd>2012-03-10</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-09" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>30</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.746167</Latitude>
  <Longitude>-74.0062</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E34F" href="http://www.nyartbeat.com/event/2012/E34F">
  <Name>Michelle Matson &quot;Rise&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/98DB3881">
    <Name>PLEATS PLEASE ISSEY MIYAKE</Name>
    <Type>Shop</Type>
    <Address>128 Wooster Street, New York, NY 10012</Address>
    <Phone></Phone>
    <Fax></Fax>
    <Access>On the corner of Prince St. Subway: N/R to Prince Street or C/E to Spring Street.</Access>
    <Area areaId="soho">Soho</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[PLEATS PLEASE ISSEY MIYAKE presents BRAVO TV’s Work of Art contestant Michelle Matson, and her latest paper sculpture installation entitled RISE.

PLEATS PLEASE ISSEY MIYAKE’s Spring/Summer 2012 collection was designed around the themes of BELIEF and KACHINA, the Native American (Hopi) spirit beings that are oftentimes depicted as colorful dolls. It is believed by Kachina devotees that life is present in all objects of the universe. Our interaction with the life force emanating from the beings and objects around us is considered central to our survival.

Reflecting on these concepts, artist Michelle Matson created a totem-like sculpture for PLEATS PLEASE ISSEY MIYAKE store visitors to interact with. Made with her signature technique of paper cutting, it is accompanied by numerous paper birds that emerge from the sculpture as if flying towards the skies, a physical embodiment of the exchange of life force energy. The overall installation conjures up feelings of grace, joyfulness, and mystery; all in the spirit of the Hopi ideals.

Michelle Matson is an interdisciplinary artist working predominantly with paper sculpture. A graduate of the School of Visual Arts in New York City, Matson has worked assisting prominent artists such as Marilyn Minter and Josephine Meckseper. Her unusual paper creations that are oftentimes inspired by nature, and more intriguingly by body fluids, have been exhibited at Kravets Wehby Gallery, Postmasters, Stux Gallery, and Zach Feuer’s Project Space, among others. In 2011, Matson was selected to participate in BRAVO TV’s reality show Work of Art: The Next Great Artist, produced by actress Sarah Jessica Parker. Matson competed against 13 other up-and-coming artists and proved to be judge and New York Magazine art critic Jerry Saltz’s evident favorite.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E34F-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E34F-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E34F-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-10</DateStart>
  <DateEnd>2012-03-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-16" start="19:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>31</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.72517</Latitude>
  <Longitude>-73.999931</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E6B9" href="http://www.nyartbeat.com/event/2012/E6B9">
  <Name>Jamy Kahn Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/58D45216">
    <Name>Brenda Taylor Gallery</Name>
    <Type>Gallery</Type>
    <Address>505 W 28th St., New York, NY 10001</Address>
    <Phone>212-463-7166</Phone>
    <Fax>212-463-8083</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_28_above">Chelsea 28th - 33rd</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails>saturdays closinghour 17:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[[Image: Jamy Kahn &quot;EXOTERRA: High Spirits Series&quot; 3-dimensional construction, acrylic on canvas on wood, 37 x 68 in.]]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E6B9-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E6B9-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E6B9-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-21</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-28" start="17:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751114</Latitude>
  <Longitude>-74.002191</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E6CD" href="http://www.nyartbeat.com/event/2012/E6CD">
  <Name>&quot;All Humans Do&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/164AD061">
    <Name>WHITE BOX</Name>
    <Type>Gallery</Type>
    <Address>329 Broome St., New York, NY 10002</Address>
    <Phone>212-714-2347</Phone>
    <Fax>212-714-2354</Fax>
    <Access>Between Bowery and Chrystie st. Subway: B/D/Q to Grand Street or J/M to Bowery Street.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>saturdays openinghour 12:00, sundays openinghour 12:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Media>Misc.: Media Arts</Media>
  <Description><![CDATA[Curated  by Aoife Tunney]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E6CD-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E6CD-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E6CD-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-20</DateStart>
  <DateEnd>2012-02-20</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-20" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>11</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.719158</Latitude>
  <Longitude>-73.994158</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E8E4" href="http://www.nyartbeat.com/event/2012/E8E4">
  <Name>Whiting Tennis Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/2F9BCE37">
    <Name>Derek Eller Gallery</Name>
    <Type>Gallery</Type>
    <Address>615 W 27th St., New York, NY 10001</Address>
    <Phone>212-206-6411</Phone>
    <Fax>212-206-6977</Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street or A/C/E to 34th Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Derek Eller Gallery presents an exhibition of new work by Whiting Tennis. 

Whiting Tennis' assemblages communicate empathy for the worn and neglected, for the histories engrained in objects and structures. Beginning with free-hand geometric sketches, his paintings employ wood-block prints and collage to transmute human and animal figures into architectural forms. Sculptural works, created with utilitarian materials such as plywood and plaster, are similarly anthropomorphized.  Flesh becomes solid, impenetrable, doorless, windowless, shut tight to the world, while the surfaces, the skin, bear the patina of age and experience.  

Works such as Hybrid, Droopy, and Glum evoke both the masculine romanticism of lone figures in desolate landscapes and the endearing quality of the battered and vulnerable. Tennis' compositions contain a brooding solitude and an awkward geometry of clashing planes and collapsing depths. Meticulously cobbled together, the shifting planes and shuffling perspective nod to Cezanne, Schwitters, and Cubism--the giants of Modernity meet American made-in-the-shed familiarity. With dexterity and formal rigor, Tennis's assemblages employ workaday materials to generate a rustling, deeply human world.

Whiting Tennis lives and works in Seattle, Washington and has been included in numerous solo and group exhibitions throughout the United States. He recently had his first solo museum show at the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College. This will be his fourth solo exhibition with the gallery.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E8E4-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E8E4-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E8E4-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751575</Latitude>
  <Longitude>-74.005528</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/E916" href="http://www.nyartbeat.com/event/2012/E916">
  <Name>Christopher Russell &quot;After the Golden Age&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/FB74E473">
    <Name>Julie Saul Gallery</Name>
    <Type>Gallery</Type>
    <Address>535 W 22nd St, 6 Fl., New York, NY 10011</Address>
    <Phone>212 627-2410</Phone>
    <Fax>212 627-2411</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street or A/C/E to 14th Street or L to 8th Avenue</Access>
    <Area areaId="chelsea_22">Chelsea 22nd</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[Russell’s second exhibition at the gallery will be a ceramic still-life installation comprised of multiple elements including fruit bowls, birds and obelisks. The elements have historical references to European decorative arts and monuments as well as natural history and Russell is using a new glaze that mimics the feeling of stone.

Russell describes the impetus for this new body of work: &quot;The essential element of the still life is not the golden goblet or the Ming bowl, or even the pile of luxurious fruit. The essential element of the still life is the bug haunting the fruit bowl, the worm that burrows into the surreally beautiful apple. All still life is haunted. It is haunted with desire and greed, with the past and loss, with ostentation and pride.

I started the work that has become &quot;After the Golden Age&quot; when I got back to the studio from a trip to Paris, the sadness of beauty and grandeur was very strong. The world is so beautiful, there are so many beautiful things, but sometimes it all feels cursed.”

Currently, Russell is completing a commission for the Metropolitan Transit Authority's Arts for Transit office who selected his design proposal for the 9th Avenue Brooklyn Station. The commis- sion includes cast bronze ornamental gates and finials in the shapes of magnified, bee-covered honeycombs and flowers. The motifs of bees and birds and thistles have been carried over from his earlier ceramic work shown here in 2009 and at Wave Hill in 2008.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/E916-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E916-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/E916-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-02</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.747453</Latitude>
  <Longitude>-74.005631</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EA52" href="http://www.nyartbeat.com/event/2012/EA52">
  <Name>Breyer P-Orridge &quot;I'm Mortality&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/946E5141">
    <Name>INVISIBLE-EXPORTS</Name>
    <Type>Gallery</Type>
    <Address>14A Orchard Street, New York, NY 10002</Address>
    <Phone>212-226-5447</Phone>
    <Fax></Fax>
    <Access>Between Hester and Canal Sts.  Subway: F to East Broadway</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:30:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment. </ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Media>Screen: Film</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EA52-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EA52-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EA52-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-17</DateStart>
  <DateEnd>2012-03-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-17" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>45</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715058</Latitude>
  <Longitude>-73.991617</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/ED06" href="http://www.nyartbeat.com/event/2012/ED06">
  <Name>“EMERGING TO ESTABLISHED, OLD AND NEW WORKS GROUP SHOW” Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/404B71BB">
    <Name>Krause Gallery</Name>
    <Type>Gallery</Type>
    <Address>149 Orchard St., New York, NY 10002</Address>
    <Phone>212-777-7799</Phone>
    <Fax></Fax>
    <Access>Between Rivington and Stanton Sts. Subway:  J/M/Z and F to Delancey/ Essex Street or J/M/Z to Bowery or F to 2nd Avenue.</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:30:00</OpeningHour>
    <ClosingHour>18:30:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Graphics</Media>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/ED06-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED06-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED06-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-01</DateStart>
  <DateEnd>2012-03-05</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>25</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.720639</Latitude>
  <Longitude>-73.989131</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/ED11" href="http://www.nyartbeat.com/event/2012/ED11">
  <Name>&quot;Accrochage&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/04A7DB29">
    <Name>Miguel Abreu Gallery</Name>
    <Type>Gallery</Type>
    <Address>36 Orchard St., New York NY 10002</Address>
    <Phone>212-995-1774</Phone>
    <Fax>646-688-2303</Fax>
    <Access>Between Canal and Hester St. Subway: F to Broadway or B/D to Grand Street</Access>
    <Area areaId="lower_east_side">Lower East Side</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:30:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="0" thu="0" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Miguel Abreu Gallery presents an installation of recent works by gallery artists and others.]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/ED11-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED11-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/ED11-170" width="170" />
  <Karma>0</Karma>
  <Price free="0">free</Price>
  <DateStart>2012-01-25</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>10</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.715894</Latitude>
  <Longitude>-73.991353</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EF50" href="http://www.nyartbeat.com/event/2012/EF50">
  <Name>&quot;Grey Full&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/E0C2A7B9">
    <Name>Jeff Bailey Gallery</Name>
    <Type>Gallery</Type>
    <Address>625 W 27th St., New York, NY 10001</Address>
    <Phone>212-989-0156</Phone>
    <Fax>212-989-0214</Fax>
    <Access>Between 11th and 12th Ave. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_27">Chelsea 27th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>2D: Photography</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Jeff Bailey Gallery opens the New Year with a large group show of drawings, paintings, sculpture, and photography, an exhibition poised and eager to explore the color Grey in all its moody ramifications. 

In a letter to his brother Theo, Van Gogh wrote that he had mixed 46 shades of grey that morning, just to get a feel for grey's chromatic range. Our own Jasper Johns has been a master of grey since the mid-fifties. Younger artists use grey constantly, whether as graphite, in drawing, or as a mixed color in painting. 

If black is at one extreme, and white the other, does everything that falls between qualify as grey? What makes one grey warm, another cool? Does charcoal belong to black, or is it really grey? Is photography's nostalgia for black and white really a claim for the color grey? What if that rainbow is a bruise on the sky, as Nellie McKay asks in a song? ]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EF50-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF50-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EF50-170" width="170" />
  <Karma>1.46465</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-11</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-13" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>2</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
  <Distance>0</Distance>
  <Datum>wgs84</Datum>
  <Latitude>40.751828</Latitude>
  <Longitude>-74.005807</Longitude>
 </Event>

 <Event xml:lang="en" id="2012/EF77" href="http://www.nyartbeat.com/event/2012/EF77">
  <Name>Theo A. Rosenblum and Chelsea Seltzer &quot;Two Heads are Better than One&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/DBC66000">
    <Name>The Hole</Name>
    <Type>Gallery</Type>
    <Address>312 Bowery, New York, NY 10012</Address>
    <Phone>212-226-3000</Phone>
    <Fax></Fax>
    <Access>Between Bleecker and Houston Sts.  Subway: 6 to Bleecker Street.</Access>
    <Area areaId="villages">Villages</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Media>3D: Installation</Media>
  <Description><![CDATA[The Hole presents the collaborative exhibition &quot;Two Heads are Better than One&quot; by Theo A. Rosenblum and Chelsea Seltzer opening this February 14th. This exhibition will feature sculpture, painting and drawing by these two artists, who, working in tandem over the past year, have created a significant assortment of deeply unsettling, playfully odd, and unavoidably memorable works.
 
From what the artists call &quot;a vending machine of myth, magic and mystery&quot; comes our exhibition, ranging from the intricately finished large sculptures back to the irreverent sketches where their ideas are born. The exhibition features all manner of hybrids, puns and below-the-belt punches: large sculptures like “Sandwitch&quot; may have started out as a collaborative doodle on a homophone, but realized in sculpture they reveal many strange nuances and details the original concept or sketch lacked. “Snow Manimal” may have come about just from the oddly relatable spheres of upper horse and lower snowman, but fit together physically so well that the visual and conceptual rupture created is all the more stark.
 
While the sculptures maintain the snickering subterfuge of a doodle, starting with one funny thing and evolving in all directions and sometimes back upon itself, the tiny sketches hung in the rear of the gallery are where we can watch the ideas start agglutinating.  These sketches find one level more of elaboration in the poster works, oil on found images (stock posters printed on unstretched canvas) where the artists can go back and forth adding weird tidbits until the upset is complete (like a mountain erupting with cheese, a huge hat on a tree, a goat straddling its own poo pile). Here the collaborative nature of their working is most apparent and where the work feels funnest, in-between their one-upmanship of back-and-forth bizarreness.
 
The next level of complexity is the assisted framed pieces, where a sculpted and painted frame intersects with the odd painted intervention in the found canvas itself. A bevy of knives (kitchen and cutlass) adorn a large found painting of a penumbral tropical getaway, “Blue Hawaii”, suggesting the potential assault from both pirates and chefs, perhaps. An inexplicable assortment of fast food surrounds the romantic painting of wild horses charging across a rainbowed field titled “A Horse is a Horse”, drawing a visual line between junk art and junk food, (eye candy?) or maybe just revealing the craving for something more to &quot;chew on&quot; in the boilerplate painting.
 
In all the various types of work exhibited, the often comforting and mundane familiarity of the found objects is perverted by the input of Rosenblum and Seltzer’s handcrafted interventions, resulting in an unsettling world somewhere between laughter and horror. The parts are familiar but the forms they take are strange and new with a logic all their own: the mythical meets the merry, the religious meets the natural and supernatural; the delicious meets the deformed. Like gum stuck to your shoe, these works stick in your head (whether you want them there or not) and some details may haunt your quiet moments for a long time to come: the power cord coming out of the articulated, puckered butthole of “Snow Manimal” perhaps?
 
Curatorially, I see these works as &quot;good bad&quot;: so wrong they're right. Their vibe is similar in concept to Heta-Uma (literally &quot;Bad-Good&quot;), a movement Japanese punk artist King Terry articulated. Something &quot;technically&quot; bad that challenges the notion of &quot;bad&quot; by being sensually and conceptually amazing: a wonky line often describes a face much more evocatively than a perfectly rendered photo-realist drawing, for example. In Rosenblum and Seltzer’s world, these hand-sculptured and not-quite-right forms—and even the &quot;handmade&quot; and wonky ideas that form them—are much more exciting than a fabricated (or logical) version would be.
 
Besides each piece creating a rupture in the viewer's sensibilities, in a larger sense the work stands out also from what is trending in galleries, from what their contemporaries are making, from what people expect them to make. The work shows them pursuing their own interests without the pressures of situating themselves within a particular discourse, without the pressure even of making work &quot;about something&quot;.  As Dan Colen wrote in his catalogue essay for Theo's first solo exhibition, the work is &quot;honest, brave and generous... human and accessible.&quot;
 
Now that we mention it, the assisted found paintings have a relationship to Dan Colen's adjusted thrift store paintings in this kind of &quot;dark Disney&quot; world they both hang out in. Rosenblum and Seltzer’s piece with skeleton hands holding up an old bouquet is right out of Disneyland's &quot;Haunted Mansion&quot; ride, literalizing the idea of an Old Master painting coveted by a long-dead collector and the idea of a memento mori as a genre of painting in a kind of humorous tangle. Or “The Enchanted Picnic”, the classical painting of a nymph or dryad with an irreverently added bucket of fried chicken and some pink panties louchely twirling on her toe is wryly humorous, but combined with the detail of the painting seemingly bursting into flames, like the offensiveness of the graffitied classical painting caused it to hellishly combust, I mean it’s just, de trop.
 
And while the overall mood of the show involves the humor of being de trop, these artists always manage to rein in the insanity and conceptually push things just far enough, or rather perfectly too much. There are no extraneous elements in the works, everything is as it should be, the Frankensteined parts all link up perfectly and the monster springs to life!
]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-14</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-14" start="18:00:00" end="21:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/EFAC" href="http://www.nyartbeat.com/event/2012/EFAC">
  <Name>&quot;13th Annual WAH Salon Art Club Show&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/D34F35D5">
    <Name>Williamsburg Art &amp; Historical Center</Name>
    <Type>Cultural Center</Type>
    <Address>135 Broadway, Brooklyn, NY 11211</Address>
    <Phone>718-486-7372</Phone>
    <Fax>718-486-6012</Fax>
    <Access>Corner of Bedford Ave.  Subway: J/M/Z to Marcy Avenue or L to Bedford Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="1" sat="0" sun="0" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>Also by appointment.</ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[]]></Description>
  <Image src="http://www.nyartbeat.com/media/event/2012/EFAC-30" width="30" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EFAC-80" width="80" />
  <Image src="http://www.nyartbeat.com/media/event/2012/EFAC-170" width="170" />
  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-21</DateStart>
  <DateEnd>2012-02-19</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-21" start="16:00:00" end="18:00:00">Opening Reception</Party>
 <DaysBeforeEnd>10</DaysBeforeEnd>
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 <Event xml:lang="en" id="2012/F5F3" href="http://www.nyartbeat.com/event/2012/F5F3">
  <Name>Tom Friedman &quot;New Work&quot;</Name>
  <Venue href="http://www.nyartbeat.com/venue/4A009A1D">
    <Name>Luhring Augustine Gallery</Name>
    <Type>Gallery</Type>
    <Address>531 W 24th St., New York, NY 10011</Address>
    <Phone>212-206-9100</Phone>
    <Fax>212-206-9055</Fax>
    <Access>Between 10th and 11th Avenue. Subway: C/E to 23rd Street</Access>
    <Area areaId="chelsea_24">Chelsea 24th</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote>In July/August open Monday-Friday, 10:00-17:30 </ScheduleNote>
  </Venue>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[My creative process fluctuates between an open system and closed system approach. I would characterize this new body of work as one that follows a more closed system, with ideas that are more compressed. For me, every piece has been an evolution of surprises and will continue to be until completion. – Tom Friedman

Luhring Augustine presents an exhibition of new work by the American artist Tom Friedman. This will be Friedman’s first solo exhibition with the gallery and his first in New York since 2005. Friedman is known for his meticulously crafted sculptures and works on paper that inhabit the intersections between the ordinary and the monstrous, the infinitesimal and the infinite, the rational and the uncanny. His work skews perception and is often deceptive, its handmade intricacy masked by a seemingly mass-produced or prefabricated appearance. Friedman’s deadpan presentation implies content and form are seamless; expectations are overturned as the viewer slowly perceives that chasm between illusion and reality.

This exhibition will include all new work, both sculptures as well as works on paper, in a wide range of materials, scales, and genres. Among the pieces to be exhibited will be a new self-portrait, a still-life sculpture, abstract wall works, text drawings, and a new large-scale stainless steel sculpture. Several works explore ideas of technology through an analog lens, such as a life-size video camera hand-crafted from wood and paint; a handmade wall collage with an upbeat futuristic pattern that mimics a high-tech flat screen; and an antiquated television screen with a pixelated static pattern made of tiny hand-applied paint tiles. Other works touch on the trials and tribulations of the artistic process itself, such as a work on paper listing the word “Verisimilitude” misspelled several times, as well as a pile of “bitten” apples sitting on the floor like an accumulation of so many failed ideas.

Tom Friedman was born in St. Louis, MO in 1965; he lives and works in Massachusetts.

[Image: Tom Friedman, &quot;Untitled (nobody)&quot; (2012) Styrofoam and paint, 13 x 16.5 x 11.5 in.]]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-02-11</DateStart>
  <DateEnd>2012-03-17</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-10" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>37</DaysBeforeEnd>
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 <Event xml:lang="en" id="2012/F7FD" href="http://www.nyartbeat.com/event/2012/F7FD">
  <Name>&quot;Paperazzi&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/F453B680">
    <Name>Galeria Janet Kurnatowski</Name>
    <Type>Gallery</Type>
    <Address>205 Norman Ave., Brooklyn, NY 11211</Address>
    <Phone>718-383-9380</Phone>
    <Fax></Fax>
    <Access>Corner of Moultrie St.  Subway: G to Nassau Avenue</Access>
    <Area areaId="williamsburg">Williamsburg</Area>
    <OpeningHour>13:00:00</OpeningHour>
    <ClosingHour>19:00:00</ClosingHour>
    <DaysClosed mon="1" tue="1" wed="1" thu="1" fri="0" sat="0" sun="0" hol="0" />
    <ScheduleDetails>sundays openinghour 12:00, sundays closinghour 18:00</ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[]]></Description>
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  <Karma>1.77979</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-13</DateStart>
  <DateEnd>2012-02-12</DateEnd>
  <ScheduleNote></ScheduleNote>
  <DaysBeforeEnd>3</DaysBeforeEnd>
  <PermanentEvent>0</PermanentEvent>
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 <Event xml:lang="en" id="2012/F860" href="http://www.nyartbeat.com/event/2012/F860">
  <Name>&quot;Matchmaker&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/A9CA140E">
    <Name>Soho20 Chelsea Gallery</Name>
    <Type>Gallery</Type>
    <Address>511 W 25th St., #605, New York, NY 10001</Address>
    <Phone>212-367-8994</Phone>
    <Fax>212-367-8994</Fax>
    <Access>Between 10th and 11th Aves. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_25">Chelsea 25th</Area>
    <OpeningHour>12:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Prints</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Curated by gallery director Jenn Dierdorf, the selected works demonstrate each artist’s interest in joining disparate parts and seeking a new balance with the whole. To varying degrees their work can be viewed as reinterpretations of social paradigms in relation to sex, communication, meme and myth. As each artist scrambles these familiar motifs we eventually arrive at a new and poignant vantage from which to look at ourselves.

Amanda Buonocore’s piece, Someone for Everyone, examines the public nature of the newspaper versus the privacy of the bedroom. Through various interventions Buonocore pushes the original intention of the author’s post far beyond the pages of the newspaper and into the world itself. Her playful, yet mischievous insights riffle through the uncomfortable space of exposed privacy.

The interactive sculpture Whisper Down the Lane, by Ginny Huo invites guests to look at the origin and transference of cultural myth. Placing themselves inside large yellow ducts, participants read tales of cautionary myths from a card in a directed game of “telephone”. Huo’s playful approach gives us a fast-forward look at the distortion of these tales and perhaps their skewed origin.

Naoko Ito’s sculpture points to the poetics of the relationship between nature and technology. Her work seeks to rearrange conventional thoughts and question rational categorization. In Flora, Ito has compartmentalized and recomposed a tree branch using dozens of glass jars. Her careful dissection all but sterilizes the once living thing.

Printmaker Krista Peters’ work is a visceral collage of human and non-human parts. Initially lithograph prints from hand drawn images of bones, feathers and string, Peters’ recomposes and layers the prints into original works. The selected works from Bone Mobile series features collage on Japanese paper stitched back together in uncanny formations.]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-31</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-02-02" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/F973" href="http://www.nyartbeat.com/event/2012/F973">
  <Name>Wilhelm Lehmbruck Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/16C8A466">
    <Name>Michael Werner Gallery</Name>
    <Type>Gallery</Type>
    <Address>4 E 77 St., New York, NY 10075</Address>
    <Phone>212-988-1623</Phone>
    <Fax>212-988-1774</Fax>
    <Access>Corner of 5th Ave. Subway: 6 to 77th Street</Access>
    <Area areaId="upper_east_side">Upper East Side</Area>
    <OpeningHour>10:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="0" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Michael Werner Gallery presents an exhibition of works by Wilhelm Lehmbruck (1881-1919). The first major Lehmbruck exhibition in the United States in more than two decades, Wilhelm Lehmbruck provides a unique opportunity to view significant works by a European artist rarely seen in America.

Wilhelm Lehmbruck is an important figure in the development of modernism and the first German sculptor of the twentieth century to significantly impact art on an international scale. A contemporary of Auguste Rodin and Aristide Maillol, Lehmbruck's contribution to sculpture was distinctly modern. His achievement was of particular importance to a later generation of sculptors, chief among them Joseph Beuys, who openly credited his predecessor's work as the inspiration to begin his own work in sculpture.

In 1895, at the age of 14, Lehmbruck entered the School of Arts and Crafts in Düsseldorf and later received specialized studies at the Düsseldorf Academy - training typical for aspiring sculptors of the time. He adhered to tradition during his Academy years, though he remained mindful of modern developments in painting and sculpture, vis a vis Rodin and other artists working in Paris at that time. A major Rodin exhibition, presented in Düsseldorf in 1904, made a deep impression on Lehmbruck and allowed him to conceive of a break with the traditions that had guided him during his student years. Beginning in 1907 Lehmbruck made several trips to Paris and eventually settled there in 1910. It was in Paris that his unique style began to emerge. Gradually moving away from the neoclassical foundations of his work, he began to fuse elements from his traditional formal vocabulary with a range of sources including Romanticism and the Gothic.

Lehmbruck's specifically modern contribution to sculpture lay in an innovative approach to materials, notably in his use of cast stone, a recently developed industrial material. This experimentation encouraged his interest in fragmentation, another important quality of the artist's modern sensibility. Lehmbruck often preferred to rework or recast elements from his existing sculptures, rather than to conceive of entirely new forms. Figures could be recast in stone or terracotta, for example, and given various patinas; or, the head or torso from a larger figure could be isolated and recast in different media. Lehmbruck exploited his experiments with materials and form to augment the emotional tenor of his works, all in an effort to achieve the deepest possible feeling.

Lehmbruck participated in the famous Armory Show of 1913 and had his first solo exhibition in 1914, at Galerie Levesque in Paris. With the outbreak of World War I, he returned to Germany, arriving first in Cologne and Düsseldorf and later Berlin. During the war he worked briefly in a field hospital. His already fragile sensibility, fraught with self-doubt and prone to melancholy, did not withstand the horrors of war. Tragically, he took his own life in 1919 at the age of 38, leaving no immediately apparent successor. While the Nazis would later denounce Lehmbruck as &quot;degenerate&quot;, his work became for many a symbol of creative freedom. Joseph Beuys, in a moving acceptance speech given on the occasion of being awarded the Lehmbruck Prize in 1986, honored the artist as his inspiration and mentor. As his biographer Paul Westheim wrote in 1922, describing the artist's sadly truncated legacy, &quot;Lehmbruck's art remains a torso...He has given us much that is significant, but, judging from his beginnings, we had the right to expect more...&quot;

Wilhelm Lehmbruck features more than a dozen sculptures by the artist, including several rare lifetime bronze and stone casts as well as unique plaster and terracotta figures. Also included in the exhibition is a large selection of related etchings, many of them unique impressions. The graphic works are remarkable for their physicality and, like his sculptures, they exploit the emotive qualities of their material to reach beyond mere depiction toward something deeper.

Wilhelm Lehmbruck is accompanied by a fully illustrated catalogue featuring a text by art historian and curator Annabelle Ténèze.

[Image: Wilhelm Lehmbruck &quot;Small Female Torso (Hagener Torso)&quot; (1911) Cast stone, 27 3/4 x 10 1/4 x 9 in.]]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-19</DateStart>
  <DateEnd>2012-03-03</DateEnd>
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  <DaysBeforeEnd>23</DaysBeforeEnd>
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 </Event>

 <Event xml:lang="en" id="2012/FE63" href="http://www.nyartbeat.com/event/2012/FE63">
  <Name>“The End&quot; Exhibition</Name>
  <Venue href="http://www.nyartbeat.com/venue/D8672E08">
    <Name>Vogt Gallery</Name>
    <Type>Gallery</Type>
    <Address>526 W 26th st., #911, New York, NY 10001</Address>
    <Phone>212-255-2671</Phone>
    <Fax>212-255-2827</Fax>
    <Access>Between 10th and 11th Ave. Subway: C/E to 23rd Street.</Access>
    <Area areaId="chelsea_26">Chelsea 26th</Area>
    <OpeningHour>11:00:00</OpeningHour>
    <ClosingHour>18:00:00</ClosingHour>
    <DaysClosed mon="1" tue="0" wed="0" thu="0" fri="0" sat="0" sun="1" hol="0" />
    <ScheduleDetails></ScheduleDetails>
    <ScheduleNote></ScheduleNote>
  </Venue>
  <Media>2D: Painting</Media>
  <Media>2D: Drawing</Media>
  <Media>3D: Sculpture</Media>
  <Description><![CDATA[Vogt Gallery presents the group exhibition “The End,” featuring works by mostly New York-based artists ranging from sculpture over drawing and painting to video and installation. The show is curated by Michael Bühler-Rose and John Connelly.

&quot;The End&quot; is an open and layered interpretation of the metaphorical meaning of the concluding of one event, affair or matter being a possible beginning of another. What is voided and what is created by change, culmination, destruction, cancellation, etc... The works in the exhibition touch upon broad themes like modernism, classicism, historic preservation, manifest destiny, technological innovation, geography, popular culture, death and spirituality. In &quot;The End,&quot; a narrative and physical construct that suggests finality and permanence becomes a catalyst for change, renaissance and growth. One final event or frontier becomes it’s own dead end or the possible beginning of something unknown but adventurous, a new avenue reflected in basic and broad historical gestures of both fear and relief.

[Image: The Pennsylvania Railroad Station, New York City. 1906-1910]]]></Description>
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  <Karma>0</Karma>
  <Price free="1">Free</Price>
  <DateStart>2012-01-06</DateStart>
  <DateEnd>2012-02-25</DateEnd>
  <ScheduleNote></ScheduleNote>
 <Party type="1" date="2012-01-06" start="18:00:00" end="20:00:00">Opening Reception</Party>
 <DaysBeforeEnd>16</DaysBeforeEnd>
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 </Event>

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